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CONTENTS.

VOLUME I.

Hgnetle. — EQUESTRIAN STATUE OF HENRY IV.

Abattoir at Montmartre.

Pont au Change.

Pont Neuf, from Pont des Arts.

Pont des Arts, from the Pont Royal.

West Front of the Church of St. Sulpice.

West Front of the Church of Notre Dame.

Court of the Louvre.

Hotel de Cluny.

Place de Louis XV., taken from the Bridge.

Pont Louis XVI., from Pont Royal.

Palace of the Legion of Honour.

H6tel de Ville.

Chateau d' Eau.

Colonnade du Louvre.

Palais de Justice, from the Court Yard.

Fontaine de Crenelle.

Palace of the Luxembourg.

Palace of the Duke of Orleans (Garden
Front.)

View from the Pont des Arts.

Rue de Rivoli.

Screen to the Court Yard, Chamber of De-
puties.

Banque de France.

La Bourse.

Italian Opera House (South Front.)

Sainte Chapelle.

Cafe Turc.

Porte St. Martin.

Porte St. Denis.

Fontainebleau, Place d' Armes.

Fontainebleau Cour des Fontaines.

Fontaine Gaillon.

Fontaine des Innocens.

Pavilion de Flore, et Pont Royal.

Colonne de la Place Vendome.

Eglise de Saint Etienne du Mont.

Eglise de Saint Denis.

Theatre des Nouveautes.

Eglise de Mont-Martre.

Palais Royal (Street Front.)

Grand Bureau de la Poste.

Palais de Versailles, Fa9ade du Jardin.

Palais de Versailles, Cour Royale.

Chapelle Expiatoire de Louis XVI.

Pont au Change, (Looking West, taken from

the Water Works.)
Halle aux Vins.

Ecuries du Roi, Faubourg du Roule.
Chapelle des Invalides (East Front.)
Eglise de Ste. Genevieve.
Tour de St. Jacques la Boucherie.

11

CONTENTS.

Ecuries du Roi, Rue St. Thomas du Louvre.
Chftteau St. Germain en Laie.
Ecole de Medecine.
Barriers de 1' Etoile ou de Neuilly.
Rotonde, Passage Colbert.
Chambre des Deputes et Pont Louis XVI.
Hospice de Bicetre.
Poste Roy ale.
Messagerie Royale.
Pere la Chaise, Monument de la Famille

Bouchee.
Rue Castiglione (Qui donne vers la Place

Vendome.)
Passage du Saumon.
La Morgue, Quai Notre Dame.
Palais de Fontainebleau, Cour d'Honneur.
Chftteau de Fontainebleau.
Pont Royal et Hotel des Gardes du Corps.
L1 Eglise de Notre Dame, Vers 1' Orient.
L' Eglise de St. Merri, Rue St. Martin.
L' Eglise de St. Eustache.
Hoi.-l de Cluni.
Notre Dame (Vue du Midi.)
L' Intdrieur de la Chapelle des Invalides.
L* Escalier de la Chambre des Pairs.
Pere la Chaise.
Petit Trianon.
L' Eglise de St. Roche.

L' Eglise de 1* Oratoire.

Fontainebleau, Vers le Jardin.

Fontainebleau, Cour d' Honneur.

Eglise de St. Germain 1' Auxerrois.

Theatre de la Porte St. Martin.

Fontainebleau, Porte doree.

Fontainebleau, Entree aux Appartemens prin-

cipaux, Cour d' Honneur.
Prison de 1'Abbaye St. Germain.
L' Escalier du P alais de Justice.
Versailles, 1' Opera Vers le Reservoir.
! Chapelle du Palais de Versailles.
Barriere de la Cunette.
L' Observatoire.

Interieur de la Chapelle Val de Grace.
Interieur de Notre Dame.
Fontainebleau Cour, des Cuisines.
Fontainebleau, Cour d' Honneur.
Monument de la Famille Perrigaux, Pere la

Chaise.

Chapelle de la Vierge, St. Sulpice.
Timbre Royal.

Cour du Ministre des Finances.
Hospice de la Salpetriere.
Palais de Justice, vers la Rue de la Barillerie.
Monumeut d' Abelard et d' Heloise, Pere la

Chaise.
Pompe a Feu Gros Caillou.

THE PONT NEUF.

THIS bridge, one of the finest in Europe, was commenced in the reign of Henry III.
(1578), from designs by Androuet du Cerceau, and was finished by the celebrated
Charles Marchand, in 1604, in the fifteenth year of the reign of Henry IV. It is com-
posed of two unequal parts, which meet at the extremity of the lie de la Cite ; the part
towards the north has seven arches, the other part five. At the point where these two
parts meet is an Esplanade, where, in 1614, the statue of Henry IV. was erected. The
history of this statue is not devoid of interest. A horse, in bronze, of colossal dimensions,
was cast by the order of Ferdinand, Grand Duke of Tuscany, who intended to place on
it his own statue. The duke however died, and the horse remained without a rider.
His successor, Cosmo II., made a present of the horse to Mary of Medicis, regent of
France. It was shipped at Leghorn, but was unfortunately wrecked on the coast of
Normandy. It was, however, by immense efforts, dragged from its watery grave, and
finally conducted in triumph to Paris. It was then set upon its legs on the Pont Neuf,
and was there so long without a rider, that for a considerable period after the statue
was finished, it went by no other name than the Cheval de Bronze. In 1788, and
during the contentions between the Court and the Parliament, the head of the statue was
crowned with ribbons and flowers. In 1789, at the breaking out of the Revolution, the
national cockade ornamented its brows. For three days in July, 1790, an artificial rock
was raised about it, upon which the figure of Henry seemed elevated, and in the evening
concerts were held and dances were performed at its base. In 1792, when the revolu-
tionists were short of cannon, the horse and his rider disappeared. Since the restoration
of the Bourbons, another statue has been erected on the same spot, to the memory of the
favourite monarch of France.* The front of the monument is adorned with an inscription,
and on the sides are two basso-relievos in bronze, one representing Henry IV. supplying
Paris with provisions whilst he was besieging it, and the other depicting his entry into this
city on the 22nd of March, 1594. The statue which is also of bronze, was modelled by
Lemot and cast by Piggiani. From this bridge the spectator enjoys a beautiful view,
taking in at once the Louvre, the Tuileries, the Hotel de la Monnaie, the Palais des
Arts, four bridges and four quays lined with fine buildings.

THE PONT DES ARTS.

THE Pont des Arts, constructed by Messrs, de Cessart and Dillon is an iron bridge
of nine arches, leading from the Quai du Louvre to the Quai de la Monnaie, fronting the
Institute or Palais des Beaux Arts, formerly called the College des Quatre Nations ou de
Mazarin, Its name is derived from the Louvre, which was called the Palais des Arts,
before that title was applied to the edifice of the Quatre Nations. This bridge was built
by a company, who are reimbursed by a trifling toll levied upon every passenger. It is
the first iron bridge ever constructed in France. It has an elegant appearance, but
wants solidity, and is only used for foot passengers. It was once one of the most
fashionable walks in Paris, but is now almost deserted. The length of the Pont des
Arts is 505 feet.

* A representation of this statue will be found on the engraved Title-page of this work.
1 B

LE PONT NEUF.

CE pont, 1'un des plus beaux qui existent en Europe, fut commence sous le regne
de Henri III. (en 1573), d'apres les dessins d' Androuet du Cerceau, et fini par Charles
Marchand, cclebre architecte, en 1604, sous le regne de Henri IV. II est compose de
deux parties inegales, qui se rencontrent a 1' extremite de 1' He de la Cite ; la partie
qui est au nord a sept arches, 1'autre en a cinq. A 1' endroit ou se rencontrent ces deux
parties est une esplanade ou fut elevee, en 1614, la statue de Henri IV. L' histoire de
cette statue a quelque chose de curieux. Ferdinand, Grand Due de Toscane, fit fondre
en bronze un cheval d'une grandeur colossale, sur lequel il se proposait de placer sa
propre statue ; niais le Due venant a mourir, le cheval resta sans cavalier. Son succes-
seur, Cosmo II., fit present de ce cheval ii Marie de Medicis, regente de France : on le fit
embarquer a Livourne, et malheureusement il fit naufrage sur la cote de la Normandie.
On parvint enfin, apres d'immenses efforts, a le retirer de 1'eau et a le transporter a
Paris. On le plac,a sur le Pont Neuf, ou il resta si long-temps sans cavalier que meme
long-temps apres qu' on eut place la statue dessus, on designait encore ce monument
par le nom du Cheval de Bronze. En 1788, pendant les disputes qui existaient entre la
Cour et le Parlement, la statue fut couronnee de fleurs et ornee de rubans; en 1789,
c' est-a-dire au commencement de la Revolution, on lui vit porter la cocarde nationale ;
pendant le mois de Juillet, 1790, on fit clever a 1' entour de la statue un rocher artificiel,
sur le quel elle paraissait placee, et au pied duquel on donna, pendant trois jours, des
concerts et des bals ; enfin, lorsqu' en 1792 les revolutionistes manquaient de canon, la
statue disparut. Depuis le retourdes Bourbons en France on a eleve, au meme endroit,
une autre statue a. la memoire du meilleur monarque qu'eut jamais la France, du galant
Henri IV.* La facade de ce monument porte une inscription, et les parties laterales sont
ornees de deux bas-reliefs en bronze dont 1' un represente Henri IV. fournissant des pro-
visions a la ville de Paris, qu' il assiege; et 1' autre, son entree a Paris, le 22 de Mars,
1594. La statue et le cheval sont d'un seul jet, et immortaliseront les talens de
M. Lemot.

La vue dont on jouit sur le Pont Neuf embrasse le Louvre, les Tuileries, le Palais
des Arts, quatre ponts et quatre quais magnifiques.

LE PONT DES ARTS.

LE Pont des Arts, a etc eleve par Messrs, de Cessart et Dillon, et c' est le premier
pont de fer qu' on ait construit a Paris. II conduit du Quai du Louvre au Quai de la
Monnaie, vis-a-vis 1' Institut ou Palais des Beaux-Arts, nomme autrefois le College des
Quatre Nations ou de Mazarin. II tire son nom du Louvre, qu' on appelait le Palais des
Arts, avant d' avoir donne ce nom a 1'edifice des Quatre Nations. Ce pont a ete bati par
une compagnie d' individus qui rentrent dans leurs debourses au moyen d' un peage leve
sur les passans, comme cela se fait generalement en Angleterre. Le Pont des Arts sur le
. jiicl on nepeut passer qu'a. pied a un air d' elegance, mais manque de solidite. Ce
pont, qui a 505 pieds de longueur, etait une des promenades les plus distinguees de Paris ;
mais la mode ayant change, il n'est maintenant que tres peu frequente.

' Le lecteur trourera sur le Frontispice de cet ouvrage une representation de la statue de Henry IV.

ABATTOIR— MONTMARTRE.

BY a decree of Napoleon, bearing date the 9th of February, 1810, five Abattoirs
(slaughtering-houses), were ordered to be erected without the walls of Paris, thereby
removing a nuisance long complained of by the inhabitants of Paris. It was ordered
that three of these should be built on the right, and two on the left bank of the Seine.

The Abattoir of Montmartre is situated between the Rues Rochechouart, de la Tour
d'Auvergne et des Martyrs, and the walls of Paris. It was commenced in 1810, under
the superintendance of M. Poidevin, a celebrated architect. It is very extensive and
occupies about 1074 feet in length and 384 in breadth. The Abattoir of Menil Montant
is nearly as large : the other three are inferior in arrangement and size. The whole were
finished in 1818, and a police order, dated in September of the same year, prohibited the
butchers of Paris from using any other place for slaughtering cattle.

These establishments do infinite credit to the police government of Napoleon, and
afford an example well worthy of imitation in the British Metropolis.

PONT AU CHANGE.

THE PONT AU CHANGE takes its name from some changeurs, or money brokers, who
resided there in the reign of Louis le jeune, in 1141. It stands over the widest part of
the Seine, and has existed, in one shape or other, from time immemorial. The oldest
name by which it is known is that of the Grand Pont. It has been subject, during the
course of its protracted existence (sometimes in wood, sometimes in stone), to many
accidents by flood and fire. A rapid thaw, after a severe frost, in 1408, had the effect of
destroying the three bridges which were then over the Seine : viz. the Petit Pont, the
Grand Pont (now Pont au Change), and the Pont St. Michel (now Pont Neuf.) The
Pontau Change was rebuilt, and again carried away by a great flood, in 1616, with all
the houses that were upon it, some of the furniture of which was washed as far as the
town of St. Denis. In 1621 it was destroyed by fire; its re-construction commenced in
1639, and it was not finished until 1647. The houses built upon it were finally removed
in 1788, by order of Louis XVI. It has the greatest span of any bridge in Paris, being
100 French feet.

ABATTOIR DE MONTMARTRE.

D'APRES un decret de Napoleon, date du 9 Fevrier, 1810, il fut ordonne de batir,
hors des murs de Paris, cinq Abattoirs, dont trois devaient £tre sur la rive droite, et deux
sur la rive gauche de la Seine. Les habitans de la capitale apprirent avec plaisir un ordre
qui les debarassait d'un mal dont ils se plaignaient depuis long temps.

L' Abattoir de Montinartre est situe entre les rues Rochechouart, de la Tour d'Au-
vergne et celle des Martyrs. II fut commence en 1810, par M. Poidevin, architecte
celebre; il a & peu pres 1074 pieds de longueur, et 384 de largeur. L' Abattoir de Menil
Montant est & peu pres de la meme grandeur : les trois autres sont moins grands.

Tous les Abattoirs furent termines en 1818, et un ordre de la police, date du mois de
Septembre de la meme anne>, defendit aux bouchers de Paris de tuer dans aucun
autre endroit.

Ces etablissemens qui contribuent & la salubrite de Paris, font honneur au regne de
Napoleon, et offrent un exemple que devraient bien i miter les autres capitales de 1' Europe :
au moment actuel (en 1828) on s'occupe a Londres de 1'idee de faire batir des Abattoirs,
semblables a ceux de Paris.

PONT AU CHANGE.

LE Pont au Change est ainsi nomme d'apres les changeurs, ou agens de change,
qui y demeuraient sous le regne de Louis le jeune, vers 1'annee 1141. II est place a 1'
endroit ou la Seine a le plus de largeur, et il est d'une si grande antiquite qu'on peut a
peine en tracer 1' origine. Le premier noin qu'on lui ait connu est celui du Grand Pont.
II a eprouve, pendant le cours de sa longue existence, des accidens de toute espece. En
1408, un degel soudain qui suivit une forte gelee, detruisit les trois ponts qui se trouvaient
alors sur la Seine ; savoir : le Petit Pont, le Grand Pont (maintenant appele le Pont au
Change), et le Pont Saint Michel, qu'on nomme ti present le Pont Neuf. Le Pont au
Change fut rebati en 1616, il fut de nouveau emporte par une inondation ainsi que toutes
les maisons qu'on avait baties dessus, dont quelques uns des meubles furent portes par
les eaux jusqu' a la ville de St. Denis. En 1621 il fut detruit par un incendie. On
commen§a a le rebatir en 1639 ; mais il ne fut termine qu'en 1647. Les maisons qui se
trouvaient sur le Pont Neuf furent abattues en 1788, par ordre de Louis XVI.

Ce pont qui est le plus large de tous ceux de Paris, a cent pieds de largeur.

SLAUGHTERHOUSE AT MONTMARTRE.

Paris possesses the great advantage of having slaughterhouses at the
outskirts of the city, and placed under the superintendance of the police.
That of Montmartre, at the end of the street Rochechouart, erected by
Pordevin in 1811, is a vast establishment, being 1074 feet in length and 384
in breadth. It receives water from the Ourcq by means of sluices. The
cleanliness which prevails in it is admirable, and strangers who visit the
French capital ought not to neglect seeing this great and useful establishment.
There are others of the same kind at Paris, amongst which that of Popincourf,
or Menilmontant, nearly equals that at Montmartre.

PONT AU CHANGE.

This bridge, lying between the Quai de la Horloge and the Quai de la
Megisserie, has replaced that which was called the Grand Pont, and which
was for a long time the only communication between the city and the north
bank of the Seine. For many centuries it was only of wood. It was several
times swept away by great inundations, and twice burnt (1621 and 1(J39.)
After the last disaster it was rebuilt of stone, and completed in 1647. In
1788 it was repaired, and the houses which had till then incumbered it were
removed. It is strongly built, but without elegance. It is remarkably wide,
being 100 feet in breadth.

L' ABATTOIR MONTMARTRE.

PARIS a le grand avantage d' avoir des Abattoirs situes aux extremites
de la ville et places sous la surveillance de la police. Celui de Montmartre
au bout de la rue Rochechouart, bad d'apres les desseins de Poidevin in 1811,
est tres vaste, ayant 1074 pieds de longueur sur 384 pieds de profondeur. II
re^-oit de 1' eau de 1' Ourcq, au moyen d' ecluses. La proprete qui y regne
est admirable, et les etrangers qui visitent la Capitale de la France ne
doivent pas negliger de voir ce grand et utile etablissement. Des autres
Abattoirs, dont il y a cinq, celui de Popincourt ou Menilmontant, Rue des
Amandiers, egale a peu pres celui de Montinartre.

PONT AU CHANGE.

CE pont, qui aboutit d'un cote au Quai de 1' Horloge et de 1' autre au
Quai de la Megisserie, a remplace celui qu'on appellait anciennement, le.
Pont, et qui tut pendant long-terns la seule communication entre la

et la rive Septentrionale de la Seine. Dans son origine, et pendant
plusieurs siecles ce pont n'etoit qu' en bois. II a ete plusiers fois emporte par
de grandes inondations et deux fois incendie (1621, 1039.) Apres le dernier de

desastres, il fut reconstruit en pierre et acheve en 1647. II subit des
reparations en 1788, epoque de la demolition des habitations, dont il avoit ete
jusqu' alors encombr6. II est d' une construction solide mais sans elegance.
II a 100 pieds de longueur.

AJftATTOJLTl AT MCTHTMABJTEJE.

'

THE PONT NEUF.

THIS bridge, one of the most ancient and remarkable in Paris, differs
from modern bridges by being built in what is called the dos d' ane, or form
of an ass's back, which the architects of those days judged to be requisite
for solidity. It was begun under the reign of Henry III. from the designs
of a celebrated architect named Androuet du Cerceau, and finished by
Guillaume Marchaud, under Henry IV . The statue of that monarch which
adorned it was destroyed during the revolution ; but, since the restoration of
the royal family, a fine equestrian statue of that great king, in bronze, has
been erected on the platform at the extremity of the island which divides the
bridge nearly in the centre. The bridge is 144 toises in length and 12 in
breadth. The annexed view is taken from the Pont des Arts. The towers of
Notre Dame appear in the distance.

THE PONT DES ARTS.

THIS bridge was built by a company, which receives a toll of a halfpenny
from every passenger. It was the first cast-iron bridge erected in Fram-(
and consists of nine arches. In appearance it is pretty elegant, but is
deficient in solidity. It is exclusively for foot passengers. The situation of
this bridge is extremely fine, extending from the Quai du Louvre to the Quai
de la Monnaie, fronting the Institute. It was opened to the public in 1804,
and for a time was one of the most fashionable promenades in Paris, but ;it
present it is nearly deserted. Its length is 505 feet.

LE PONT NEUF.

CE pont, un des plus anciens et des plus remarquables de Paris, differe
des ponts modernes par la courbe de ses arcs, et par sa construction en dos
(1 nne, que les architectes d' alors jugeaient necessaire & la solidite. II fut
( ommence sous le regne de Henri III. d' apres les desseins d' un architecte
• •rk'-bre, Androuet du Cerceau, et fut termine sous la direction de Guillaume
Marchand, la quinzieme annee du regne de Henri IV. La statue de ce mo-
narque, qui le decorait, fut detruite pendant la revolution, mais depuis
1" lieureux retour de nos rois legitimes on a erige une belle statue equestre
de ce grand roi, en bronze sur la plateforme, qui est & 1' extremit6 de 1' il edu
palais, et qui partage le pont a pen pres en deux parties egales. Ce pont a
plus de 144 toises de longueur sur 12 de largeur. La vue ci-jointe est prise
du Pont des Arts. Les tours de Notre Dame se presentent dans le lointain.

LE PONT DES ARTS.

CE pont fut elev6 aux frais d' une Compagnie, qui rentre dans ses
debourses moyennant un peage sur les passans. C'est le premier pont en
fer qu'on a construit en France. II est porte sur neuf arches. L' apparence
en est elegante mais il manque de solidite. II ne sert qu' aux pietons. La
situation de ce pont est superbe; s' etendant sur la Seine du Quai du Louvre
il aboutit au Quai de la Monnaie en face de 1' Institut. C'est 1'ouvrage de
I' ingenieur Dillon, et fut ouvert au public en 1804. Pendant quelque terns
il fonnait une des promenades les plus recherchees des Parisiens ; aujourdhui
il est presque desert. II a 505 pieds de longueur.

POHT WEHTF, FM.OM PONT DES ARTS .

trjiviQS. Pcutoy. August J5. lf&#

rr BES ARTS FROM T

. La* ' •' ''Udcry

CHURCH OF NOTRE DAME.

CHILDEBERT I. is said to have laid, about the year 522, the foundation of the old
cathedral of Notre Dame. The present building was commenced in the reign of Robert,
about 1010, and was continued by Philip Augustus, under the direction of Maurice de
Sully, bishop of Paris. This prelate showed great taste and no less skill in forming the
plans of this fine church. Its erection was successively carried on by Odon de Sully,
Pierre de Nemours, and other bishops, till it was completed, after a labour of nearly
three centuries. The disposition of its parts is nobly conceived, and its proportions are
admirable ; it is, indeed, justly considered as one of the finest specimens of ecclesiastical
architecture. Its length is 390 French feet, its breadth 144, and its height from the
ground to the vault of the roof is 104 feet.

The towers of Notre Dame are very remarkable for their beauty. This church for-
merly contained a great number of relics deposited there by the kings of France, but
which entirely disappeared at the time of the revolution.

THE CHURCH OF ST. SULPICE.

ST. SULPICE is one of the handsomest churches in Paris. It was commenced in
1646, when Anne of Austria laid the first stone. Various architects were employed in
its erection. Louis Levau furnished the first designs ; Oppenord, Servandoni, Mac-
laurin, and Chalgrin also had their share in its completion. Servandoni constructed the
Portico, which is of noble dimensions ; Maclaurin and Chalgrin constructed the towers,
which not being of equal height, constitute the principal defect in the edifice. The
design of Chalgrin, to remedy this evil, has unfortunately never beeij carried into
execution.

The interior of St. Sulpice is very beautiful, and the disposition of the altar ex-
tremely grand. The Binitiers, which are remarkably elegant, were presented by the
republic of Venice to Francis I. The pulpit, from a design by Wailly, is also distin-
guished for the richness of its decorations : it forms on entering the church a very
prominent and agreeable feature. St. Sulpice also contains some fine paintings, by Carle
Vanloo.

L EGLISE DE NOTRE DAME.

L' ANCIF.NNE cathedrale de Notre Dame fut fondee, vers 1' annee 522, par Childe-
hert I. L' edifice actuel a etc commence sous le regne de Robert (1010), et continue
par Philippe-Auguste, sous la direction de Maurice de Sully, eveque de Paris. Ce
prelat fit voir autant de gout que de talent en formant le plan de cette superbe eglise.
Odon de Sully, Pierre de Nemours, et plusieurs autres eveques s'occuperent de cet
edifice qui fut enfin terraine, apres un travail de presque trois siecles.

On admire beaucoup la disposition des differentes parties de cet edifice, et leur
exacte proportion.

Les tours de Notre Dame, se font remarquer par leur beaute, et contribuent a rend re
cette eglise 1' un des plus beaux monumens de 1' architecture chre'tienne. Elle contenait
autrefois une grande quantite de reliques, qui y avaient etc placees par les rois de
France, mais qui disparurent a 1' epoque de la Revolution.

L' eglise de Notre Dame a 390 pieds de longueur, 144 de largeur, et 104 depuis le
sol, jusqu' a la partie la plus elevee de la voute.

EGLISE DE ST. SULPICE.

CETTE eglise est une des plus belles de Paris. Anne d' Autriche en posa la pre-
miere pierre, en 1646. Plusieurs architectes travaillerent a cet edifice. Louis Levau
en fournit les premiers dessins ; Oppenord, Servandoni, Maclaurin et Chalgrin, s'en
occuperent aussi. Servandoni batit le porche qui a de tres belles dimensions ; Mac-
laurin et Chalgrin eleverent les tours qui, n'etant pas de la meme hauteur, nuisent a la
beaute de 1'edifice : malheureusement l'ide"e qu'avait eu Chalgrin de remedier a ce d^faut
n'a jamais e"te" accomplie.

L' int^rieur de St. Sulpice est de toute beaute, et Ton admire surtout la disposition
de P autel. Les benitiers, qui sont de la plus grande elegance, ont etc presentes a
Francois I. par la republique de Venice. La chaire, d'apres un dessin par Wailli, frappe
!cs yeux en entrant dans 1'eglise, et se fait admirer par la beaute" de ses formes. On voit
aussi a St. Sulpice quelques beaux tableaux, par Carle Vanloo.

I

5

H

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te

H

VI

COURT OF THE LOUVRE

ABOUT the commencement of the thirteenth century Philip Augustus erected,
without the walls of Paris, a fortress, called in Latin Lupara, and in French Louvre.
Its history is involved in considerable obscurity. In the reign of Francis I. (1529)it was
found to be in such a dilapidated state, as to require considerable reparations, in order
to make it a fit residence for Charles V. It was partly rebuilt by Francis I., from
designs by Pierre Lescot; the works were continued by Henry II., and the building was
afterwards distinguished by the name of the Vieux Louvre. It was from one of the
windows of this edifice that Charles IX., on the memorable night of St. Bartholomew,
fired upon his own subjects.

The construction of the Louvre was resumed by Louis XIV., but the designs of
Leveau not corresponding in magnificence with the ideas of the monarch, Bernin was
sent for from Italy, but even his plans were not acted upon. We are indebted to the
architects of Francis I. for the West front of the Court of the Louvre ; and to those of
Louis XIV. and of Napoleon for the other fronts ; the former does great credit to the
age, and reflects high honour on its architect, Pierre Lescot, and its sculptor, Jean
Goujon ; the latter are distinguished for great elegance and taste, displaying, in fine
proportions, three orders, surmounting each other, with beautifully executed inter-
columniation.

The king's architects, Messrs. Percier and Fontaine, have lately submitted to the
present government of France a design, in which they have introduced fountains for the
four angles of the Court, which, if adopted, will greatly add to the beauty of the whole.

The Court is a perfect square, 360 feet each way.

HOTEL OF CLUNY.

THE Hotel of Cluny was first erected in 1505, upon a part of the ruins of the
Palais des Thermes, by Jacques d' Amboise, Abbe de Cluny, from whom its name was
derived. The present edifice is in the florid style of architecture, and the principal
front, which is represented in the annexed plate, is in a fair state of preservation. In the
vicinity of the garden is a chapel distinguished for ornaments, executed in great taste.

The Hotel of Cluny is situated in the Rue des Mathurins, and though it has suffered
considerably from the carelessness of its different proprietors, it still retains enough of its
ancient splendour to render it one of the most interesting relics of French domestic
architecture.

LA PLACE DA LOUVRE.

VERS le commencement du treizieme siecle, Philippe Auguste batithors, de Paris,
une forteresse nommee en Latin Lupara, et en Fran§ais, Louvre : V histoire en est assez
incertaine. Elle se trouva, sous le regne de Fran9ois I., dans un si mauvais etat, qu'Jl
fallut y faire de tres grandes reparations afin de la rendre propre a recevoir Charles V.
Elle fut en partie rebatie par Francois I., d'apr^s les dessins se Pierre Lescot; Henri II.
en fit continuer les travaux, et des-lors on distingua ce bailment par le nom du Vieux
Louvre. C'est d'une des fenetres de ce palais que Charles IX., dans la nuit memorable de
la St. Barthelemi, tira des coups de fusil sur les protestans du faubourg Saint-Germain.

Louis XIV. fit continuer la construction de cet edifice, mais les dessins de Levean
ne satisfaisant pas les idees de magnificence du monarque, on fit venir d' Italie le che-
valier Bernin, dont cependant on ne suivit pas les intentions. On doit anx architectes
de Francois I., la fa$ade a 1' ouest de la Place du Louvre ; et a ceux'jde Louis XIV., les
trois autres fagades ; la premiere fait honneur a 1' architecte Lescot et au sculpteur, Jean
Goujon ; ces dernieres, qui se font remarquer par le gout et 1'elegance dout elles font
preuve, consistent de trois rangees de colonnes, de differens ordres d' architecture,
placees 1' une au dessus de 1' autre ; et 1' on admire surtout 1'art avec le quel 1' espace
entre les colonnes est rempli, et 1' harmonic qui existe entre elles.

Les architectes du roi, M. M. Percier et Fontaine, ont dernierement present^ au
gouvernement Fran$ais, un dessin dans le quel ils ont place une fontaine a chacun des
angles de la Place du Louvre; il est a desirer qu'on adopte cette idee, qui ajouterait
beaucoup a la beaute de cet emplacement.

La Place du Louvre forme un carre parfait, de 360 pieds.

HOTEL DE CLUNY.

L' HUTI:L de Cluny fut biiti en 1505, sur une partie des mines du Palais des Thermes
par Jacques d' Amboise, Abbe de Cluny, qui lui donna son nom. L' edifice actuel est
dans un tres joli genre d' architecture, et la facade principal, que represente la gravure
ci-jointe, est encore en assez bon etat. Pres du jardin est une chapelle dont les ornemeus,
executes avec un gout exquis sont fort admires.

L' Hitel de Cluny est situe dans la Rue des Mathurins, et quoiqu'il ait beaucuop
du peu de som des personnes qui 1' ont occupe a difftrentes epoques, il n'en est
pas nuons 1' un des restes les plus interessans de I' anciemie architecture francaise.

* - '.^ • i/. anftn Sift -

COUBLT OF THE JLOCrVRE -

HOTEL, IDE Cn.urni

PLACE LOUIS XV.

THE Place Louis XV. situated between the garden of the Tuileries and the Champs
Elysees, is bounded on the northern side by two magnificent buildings of similar
construction, and on the opposite side by the Seine and the Pont Louis XVI. It was
commenced, in 1763, after a plan by Gabriel, and was not completed until 1772. It
owes its principal beauty to the objects by which it is surrounded. The terraces of the
Tuileries-gardens and two marble equestrian statues adorn its eastern aspect ; while to
the west, open the Champs Elysees through the centre of which runs the Avenue de
Neuilly, terminated by the heights of Chaillot and the Barriere Neuilly, the triumphal arch
being at the extremity of the view. The situation of this square affords, therefore, one of
the finest aspects in Europe. It derives its name from the equestrian statue of Louis XV.
which occupied its centre, and which was destroyed at the time of the general demo-
lition of royal effigies, in 1792. Some months afterwards the place of this statue was
occupied by a colossal figure of liberty, and the square received the new title of the
Place de la Revolution. This statue was removed during the consulate, and preparations
were then made for the erection of another monument, which however were not carried
into execution, and the only change that then took place was to give the square the new
appellation of Place de la Concorde. Finally, its former name of Place Louis XV. was
restored to it in 1814, and it has retained it ever since. During the reign of terror, a
great number of victims were guillotined on this spot, and it was there also that the
unhappy Louis XVI. met with his untimely and undeserved fate. It was likewise on this
ill-fated Place that on the marriage of Louis XVI. (then Dauphin), with Maria Antoinette
in 1770, an immense concourse of people assembled to see the fire-works exhibited on
the occasion; when, so great was the rush of the crowd, and so inadequate the means
that had been provided to meet it, that (dreadful to relate !) three hundred persons
were killed, and above twelve hundred were trodden under foot and more or less severely
injured.

PONT LOUIS XVI.

As early as in 1722 the city of Paris had been authorized by Letlres patentes to raise
a sum of money for the erection of a bridge opposite the Place Louis XV. The quantity
of mansions and other dwellings which were daily erected in every part of the faubourg
St. Germain, shewed every day more evidently the necessity of a communication being
established between the two banks of the Seine, which could then only be crossed either
by means of a passage boat, placed opposite the Invalids, or by going as far as the Pont
Royal. It was, however, only in the year 1786, that an edict of the king allowed a loan
of 30,000,000 to be employed in embellishing Paris, out of which 1,200,000 livres were
assigned towards defraying the expenses of erecting this bridge, which was commenced
in 1787, and finished at the close of 1790. Part of the materials for the stone work
were supplied from the ruins of the Bastille.

The Pont Louis XVI. consists of five arches. The centre arch is ninety-six French
feet across, the collateral arches eighty, and those at the extremities seventy-five feet.
The whole length of the bridge is 461 feet. It was built by the celebrated Perronnet, and
has all the lightness and elegance of structure which so eminently distinguish the
bridges of that renowned architect, and particularly that of Neuilly.

D 9

LA PLACE LOUIS XV.

LA Place Louis XV. est situee entre le Jardin des Tuileries et les Champs Elysees;
elles est bornee au nord, par deux batimens raagnifiques de la meme construction, et au
sud par le Seine et le Pont Louis XVI. Elle fut coinmencee, en 17t>3, d' apres un plan
par Gabriel, et terminee en 1772. Elle doit aux objets qui 1' environnent sa beaute
principale. On voit a 1' Est la terrace du Jardin des Tuileries et deux statues equestres,
en marbre ; a 1' Quest les Champs Elysees, perces par 1' Avenue de Neuilly, terminee
par les hauteurs de Chaillot, et au bout de la quelle on apergoit la Barriere de Neuilly et
1' Arche de triomphe. Cette Place qui ofi're 1' un des plus beaux aspects de Paris, tire son
nom d' une statue equestre de Louis XV. qui en ornait le milieu, et qui fut detruite,
ainsi qui tout ce que portait la marque de la royaute, en 1792. Quelques mois apres on
mit a la place de cette statue une figure colossale de la Liberte, et on donna a la Place
Louis XV. le nom de Place de la Revolution. La statue de la Liberte fut enlevee pendant
le consulat, pour faire place a un autre monument, qu' on n' executa pas ; mais 1' on
donna alors a cet emplacement le nouveau nom de Place de la Concorde, qu' il retint
jusqu' en 1814, epoque a la quelle on lui rendit son ancien nom de PLACE Louis XV.

Pendant le regne de la Terreur, un grand nombre de victimes furent guillotinees
sur la Place Louis XV. C' est aussi la que 1' infortune Louis XVI. rec,ut la mort qu' il
meritait si peu, et on ne pent se rappeler sans un vif interet que c' est aussi sur cette
place qu' arriva, lors du mariage de ce malheureux monarque avec Marie Antoinette,
un des plus terribles accidens qui ait jamais afHige 1' humanite. Le 30 Mai, 1770,
epoque de la celebration de ce mariage, une foule immense s' assembla sur la Place
Louis XV. pour jouir du spectacle d' un feu d' artifice qu' on devait y donner. Mal-
heureusement les precautions qu' on avait prises n' etaient pas suffisantes, et il se forma
un engorgement dans le quel trois cents personnes perirent sur la place, et plus de
douze-cents, foulees aux pieds, furent estropiees, on moururentpeu de semaines apres, des
suites de cet accident, qui mit en deuil un grand nombre de families.

LE PONT LOUIS XVI.

Des 1722, dit M. de Saint Victor, la ville de Paris avait etc autorisee par lettres
patentes a faire un emprunt pour 1' etablissement d' un pont vis-a-vis la Place Louis XV.
La grande quantite d' hotels et de maisons qui s' elevaient de tous les cotes dans le
faubourg Saint-Germain faisait sentir davantage de jour en jour la necessite de cette
communication nouvelle entre les deux rives, qu' il n' etait alors possible de traverser
qu' en allant chercher le Pont Royal, ou en se servant du moyen lent et incommode d'
un bac etabli vis-a-vis les invalides. Ce ne fut cependant qu' en 1786 que, par un edit
du roi qui permit un emprunt de trente millions destines aux embellissemens de Paris, il
fut affectc 1,200,000 livres pour les frais des premieres constructions de ce monument.

Le Pont Louis XVI. le plus estime de tous ceux qui ornent Paris, fut commence en
1789. Une partie des materiaux qui servirent a sa construction, furent apportes des
rumes de la Bastille. II est compost- de cinq arches qui diminuent graduellement de
largeur. L' arche du milieu a quatre vingt seize pieds d' ouverture, les deux qui lui sont
collaterals quatre-vino-t sept pieds, et celles qui touchent les culees soixante dix-huit.

Ce pont se fait remarquer par la meme elegance d' architecture qu' on admire dans
tous les autres travaux de M. Perronet, et principalement dans le beau Pont de Neuilly.

PILACE US IUVOS XV, TAKEN KROrJT THE BRIDGJt.,

R. Jennings, foutiry. jluyiut J~5, J

ILOTOS XYI, FHIOM POWT

PALAIS DE LA LEGION D'HONNEUR.

i

THIS is one of the most elegant buildings of which Paris can boast. It was erected
in 1786, for the Prince of Salm, and consequently bore, until 1802, the name of the
Hotel (hi Prince de Salm. On the establishment of the Legion of Honour, by Napoleon,
the palace was appropriated to the purposes of this institution.

The principal entrance to the court is through a triumphal arch, which is flanked on
each side by a colonnade of the Ionic order, at the extremity of which are corresponding
buildinos, surmounted by bas-reliefs. The front of the edifice is distinguished by a co-
lonnade of the Ionic order; and six Corinthian columns, of noble proportions, give dignity
to the entrance ; over this, some fine bas-reliefs, executed by M. Roland, add to the rich
appearance of the front, which bears some resemblance to that of the Ecole de Medecine,
so much and so justly admired. The part we have described constitutes the chief beauty
of the edifice. Its architecture, which throughout is considered to be executed in the
purest taste, does infinite credit to the judgment and talents of M. Rousseau, the
architect.

The apartments of this palace are remarkable for their elegance and the simplicity
of their ornaments ; the dining room is adorned with columns of the Ionic order. The
principal apartment, which is of a circular form, is forty feet in diameter, and occupies
the half circle observable in the middle of the edifice. Owing to this circumstance, the
side which faces the quay has a semi-circular form : on this side are large windows,
between which are placed Corinthian columns, with statues. The other parts of the edifice
are also adorned with busts and other ornaments of sculpture, distributed with much
taste.

THE HOTEL DE VILLE.

THIS building was commenced in 1533, in the Gothic style ; but a new style of archi-
tecture becoming more in vogue, the works were suspended, until anltalian (Dominico
Boccardo) presented to Henry ll. a new plan, which was adopted : the works, however,
proceeded very slowly, and the whole was not completed till the year 1605, in the reign
of Henry IV.

The Hotel de Ville is a large building, less worthy of admiration among the more
splendid achievements of modern architecture, than it is remarkable for its being one of
the first attempts to depart from the Saracenic or Gothic style, which distinguished the
public buildings of the Middle Ages.

Over the principal entrance was placed a fine bas-relief in bronze, which was con-
sidered the chej'-d'auvre of the celebrated Biard,and represented Henry IV. on horseback.
It was greatly injured during the wars of the Fronde, indifferently repaired by the son of
the sculptor, was destroyed during the Revolution, and renewed and re-established in 1815.

In the great hall, or salle du Trdne, the representatives of the Commune of Paris
held their meetings in the time of the Revolution. In these tumultuous days the whole in-
terior of the edifice suffered considerably, and all the ornaments which had any reference
to monarchical times or power were completely destroyed. The only ornaments which
remained untouched were statues representing the twelve months of the year, carved
by J. Goujon, and placed in one of the apartments adjoining the Great Hall.

Several additions have of late years been made to this Hotel, which consist chierly
of the hospital and church of the Sit. Esprit, and the chapel of St. John. The ground
floor of the church of the St. Esprit has been converted into a large vestibule, used on
the occasion of royal visits, and at the end of which is a great staircase, leading to a
private apartment. The hall of St. John (the only remaining part of the church) forms
an extensive parallelogram, and is decorated with twelve Corinthian pillars. This hall is
only used on great occasions; and it was in this Place that after the return of Louis
XVIII. a dinner was given him by the city of Paris.

11

PALAIS DE LA LEGION D'HONNEUR.

CET edifice est un des plus beaux qui embellissent la capitale. II fut bati en 1786,
pour le prince de Salm, et fut design^, jusqu' ;\ 1' annee 1802, par le nom d Hotel du
Prince de Salm ; mais lorsque Napoleon fonda 1' ordre de la Legion d Honneur, on ap-
propria ce batiment a 1' usage de ce corps, dont il a depuis porte le nom.

On entre dans la cour de ce palais en passant sous un arc de trmmphe, qui ade chaque
c6te une colonnade de 1' ordre ionique, terminee par des batimens qui se correspondent
et qui sont surmontes par des bas-reliefs. La fa§ade de cet edifice, qui ressemble
un peu a celle de 1' Ecole de Medecine, se distingue par une colonnade de 1 ordre
ionique ; six colonnes de 1' ordre corinthien, de tres belles proportions, ajoutent a la
beaute" de 1' entree, audessus de la quelle se trouvent de tres beaux bas-reliefs, qu on doit
aux talens de M. Rollard. C'est dans cette partie que se trouve la principal beaute de
I' Edifice. Son architecture que 1' on regarde comme d'un gout parfait, fait honneur
a 1' architecte, M. Rousseau.

Les appartemens de ce palais sont remarquables par 1' elegance et la simplicity de
leurs ornemens ; la salle a manger, tout en stuc, est decoree de colonnes ioniques. Le
salon principal est de forme circulaire ; il a quarante pieds de diametre, et occupe le demi-
cercle apparent du milieu de 1' edifice. La fa$ade du cote du quai presente par 1' efiet
de cette construction, un avancement semi-circulaire du corps de batiment. Cette partie
est percee de grandes fenfitres entre les quelles sont des colonnes corinthiennes avec des
statues sur leur aplomb. Le reste de 1' edifice est enrichi de bustes et d' autres ornemens
de sculpture, distribues avec ordre. On jouit de la d'un point de vue magnifique.

L' HOTEL DE VILLE.

ON commenc,a a batir, en 1533, 1' Hotel de Ville dans le style gothique, mais un
autre genre d' architecture etant devenu plus a la mode, on suspendit les travaux, jusqu,
a ce qu'un architecte Italien (Dominico Boccardo) vint off'rir a Henri II., en 1549, un
nouveau plan qui fut adopte : on ne 1' exe"cuta cependant que tres lentement, et le tout
ne fut termine qu'en 1605, sous le regne d' Henri IV. L' Hotel de Ville est un grand
batiment, qui se fait remarquer, moins par sa beaute, que par 1' interet qu'il offre
comme etant 1' un des premiers efforts qu'on ait faits pour abandonner le style sarace-
nique ou gothique, qui distingue tous les edifices publics du moyen age.

On avait place au dessus de 1' entree principale de 1' Hotel de Ville, un tres beau
bas-relief en bronze, representant Henri IV. a cheval, et qu'on regardait comme le chef-
d'oeuvre du celebre Biard. II souft'rit pendant les guerres de la Fronde des degats que le
fils du sculpteur chercha, mais en vain, a reparer dans la suite; il fut detruit pendant la
Revolution, et retabli dans le courant de 1' annee 1815.

C'est dans la salle, appelee maintenant Sfil/e (hi Trone, que les Representans de la Com-
mune tinrent leurs assemblies ;\ 1' epoque de la Revolution. Pendant ces jours de tumulte
1' interieur de cet edifice souft'rit considerablement, et tous les ornemens qui rappelaient
les temps de la monarchie furent complc'tement detruits : les seuls qui echapperent furent
douze statues representant les Mois de 1' nnm'e, sculptes par J. Goujon, dans 1' un des ap-
partemens pres de la grande Salle. En 1801 les bureaux de la Prefecture du department
de la Seine, furent etablis a 1' Hotel de Ville.

r

1'

les membres de la famille royale. La salle de St. Jean, la seule qui reste de cette purtie
de 1' e'glise, forme un grand paralU'lograme, et est ornee de douze pillierscorinthiens. On
ne se sert de cette salle que dans les grandes occasions, et c'est la que la Ville de Paris
donna a diner a Louis XVIII.. lors de son retour en France.
12

.

ALACE OF TEDE LEGION OF

HcDTEJL BE

THE CHATEAU D' EAU.

THIS Chateau d' Eau, or fountain, decorates the esplanade, which is between the
Porte St. Martin and the Rue du Faubourg du Temple. From the centre of a circular
basin rise three other basins of the same form, which serve as a base to a double cast-
iron cup. Underneath are lions, from whose mouth the water issues. This fountain
was finished in 1810. Though it cannot be compared to that of the MarcM des Irmocens,
still it is considered one of the finest ornaments in Paris. Its situation is favorable,
being on the Boulevard, and the vicinity of the trees, forming a pleasing part of the
scene, add to the pleasure felt while gazing on this beautiful fountain.

THE FOUNTAIN GRENELLE.

THE Fontaine de Crenelle is universally allowed to be a very elegant structure,
both for its architectural beauty and for its sculptural excellence. It was constructed
from the designs, and under the immediate inspection of Bouchardon, a celebrated
sculptor, who executed the figures, the bas-reliefs, and many of the ornaments himself.
It was completed in 1739. It is built on a semi-circular plan, from the centre of which
is a projecting pile, surmounted by a marble figure, intended to represent the city of
Paris : on each side are a river-god and nymph, intended for the Seine and the Marne.
The figures placed in the niches are the representations of the four seasons. Behind this
group are four columns of the Ionic order, crowned by a pediment, and between these
columns was an inscription on a tablet of black marble. This inscription was effaced
during the French Revolution ; and, as it derives considerable interest from its having
been composed by Cardinal Fleury, then prime minister, we have given it on the other
page, and hope the following free translation may prove acceptable to those of our fair
readers, who are not yet learned enough to understand the original : —

WHILE Louis XV.

THE FATHER AND BELOVED OF HIS PEOPLE,

SECURED PUBLIC TRANQUILLITY,
WHILE, WITHOUT SHEDDING BLOOD,
HE EXTENDED THE LIMITS OF HIS EMPIRE,
AND WHILE, BY HIS HAPPY MEDIATION,

HE PROCURED PEACE TO GERMANY,
TO RUSSIA AND THE TURKISH PoWER,

THE CIVIL AUTHORITIES

ERECTED THIS FOUNTAIN FOR THE USE OF THE CITIZENS,

AND THE EMBELLISHMENT OF THE CITY,

IN THE YEAR OF OUR L.ORD,

M.D.CCXXXIX.

13

LE CHATEAU D' EAU.

LE Chateau d' Eau fait 1' ornement principal de 1' esplanade qui se trouve entre la
porte St. Martin et la Rue du Faubourg du Temple. Du centre d' un bassin circulaire,
s'elevent trois autres bassins de la rneme forme qui servent de base a une double coupe
en fonte. Au-dessous sont places quatre socles carres, dont chacun sert de piedestal a
deux figures de lions accouples, qui lancent de 1' eau par la gueule.

Cette fontaine, dont la composition est 1' ouvrage de M. Gerard, fut terminee en
1810. Quoiqu'on ne puisse la comparer a celle du Marche des Innocens, elle forme
neanmoins un des plus beaux ornemens de Paris. Placee sur les Boulevards, la situation
qu' elle occupe ajoute a sa beaute, et les arbres qui 1' entourent augmentent encore le
plaisir qu'on eprouve a admirer cette charmante cascade.

FONTAINE DE GRENELLE.

ON regarde la Fontaine de Crenelle, soitpour 1' excellence de son architecture ou
la beaute de sa sculpture, comme 1' un des plus beaux monumens de Paris. Elle fut
construite d' apres les dessins et sous les soins de Bouchardon, celebre sculpteur qui
executa lui-meme les statues, les bas-reliefs et la plupart des ornemens qui en font
partie, et termina le tout en 1739. Elle a la forme d' un demi-cercle, du centre du quel
s' eleve la partie sur la quelle est placee une statue en marbre, representant la ville de
Paris, qui semble regarder avec complaisance deux figures qu'on voit a ses pieds et qui
representent la Seine et la Marne. Les statues placees daus les niches laterales, repre-
sentent les quatre saisons. Derriere le groupe principal, se trouvent quatre colonnes de
1' ordre ionique, entre les quelles existait une inscription, sur une table de marbre noir.
Cette inscription, qui a ete effacee pendant les troubles de la Revolution, est d' autant
plus curieuse qu' elle a ete composee par le cardinal Fleury, alors premier ministre, et
comme elle est peu connue, nous 1' ofirons ici au lecteur —

DUM LUDOVICUS XV.

POPULI AMOR ET PARENS OPTIMUS

PUBLIC* TRANQUILLITATIS ASSERTOR

GALLICI IMPERU FINIBUS

INNOCUE PROPAGATIS

PACE GERMANOS RUSSOSQUE

INTER ET OTTOMANOS

FELICITER CONCILIATA

GLORIOSE SIMUL ET PACIFICE

REGNABAT
FONTEM HUNC CIVIUM UTILITATI

UllBIS QUE ORNAMENTO

CONSECRARUNT
PR^EFECTUS ET
ANNO DOMINI

M.D.CCXXXIX.
14

CHATEAU B'EAU.

COLONNADE DU

.

COLONADE OF THE LOUVRE.

THE celebrated architects Le Veau, Le Brun, and Claude Perrault supplied designs
for the Colonade of the Louvre ; the one adopted by Louis XIV. was that of Claude
Perrault, which was immediately carried into execution, and completed in 1670. It is
525 French feet in length. It has three avant-corps, connected by two peristyles of the
Corinthian order. The principal entrance is in the centre avant-corps. This colonade is
of a highly imposing character, and its peristyle will always be considered one of the
finest specimens of modern architecture which France can produce. It is more magnifi-
cent in appearance than any of the facades which adorn the palaces of Paris. The
Corinthian order of which it is composed is of admirable proportions. The pediment
over the principal entrance is ornamented with a fine bas-relief 74 feet long, executed
by Lemot, representing the nine Muses paying homage to the sovereign. The bas-relief
over the principal gateway, by M. Cartellier, consists of a figure of Fame distri-
buting crowns. The folding gates in the centre, constructed by Buonaparte, are of
bronze, and are beautifully ornamented. Other improvements were also affected in the
ornamental parts of this colonade by Napoleon.

PALAIS DE JUSTICE.

THIS was anciently distinguished by the title of The Palace, to show that it was the
residence of royalty. Eudes is said to be the first who inhabited it, and who constructed
within its walls, towers, several of which still exist. It was repaired and considerably
enlarged by St. Louis, who made it his residence. Philippe-le-Bel also made several
important alterations and additions to it ; and it was subsequently enlarged by Charles
VIII., Louis XL, and Louis XII. The Great Hall of Justice was destroyed by fire in
1618 ; and several of its most ancient portions were also burnt down by another fire in
1776. The ancient hall, of the same size as the one burnt, and situated immediately
underneath it, still exists in all its Gothic grandeur. The new upper hall was re-con-
structed by Desbrosses, and finished in 1622. The number of scattered parts originally
attached to this fine building, were attempted to be reduced into a consistent arrange-
ment, by the architects Moreau, Desmaisons, Contune, and Antoine. This attempt was
interrupted by the course of the Revolution. A great historical interest is attached to
this palace. It was here that the kings of France received their ambassadors, and gave
their national entertainments. The great hall was ornamented by statues of the kings
of France, from the earliest period. These, however, with a magnificent marble table, at
which none but princes of the blood presided, and other royal insignia, were destroyed
with the hall in 1618. The Court of Cassation, the Cour Royale, the Civil Courts, and
the Court of Exchequer, are held within the precincts of this Palace. Some portions of
it assume a singular appearance, from the circumstance that a number of retail shop?
display their various wares along some of the galleries.

15

COLONNADE DU LOUVRE.

LE Veau, Le Brun, et Claude Perrault, architectes c&ebres fournirent des dessins
pour la Colonnade du Louvre. Louis XIV. ayant donne la preference a celui de Claude
Perrault, on en commenga 1' execution qui fut terminee en 1670. Cette colonnade qui a
525 pieds de longueur, est composee de deux peristyles et de trois avant-corps qui s'
elevent sur un rez-de-chaussee formant un piedestal continu. Cette Colonnade a un
caractere tres imposant, et 1' on en regardera tonjours le peristyle comme 1' un des plus
beaux morceaux d' architecture qui existent en France ; elle surpasse, en effet, en beaute
toutes les facades qui ornent les palais de Paris. Les proportions del' ordre Corinthien
dont elle est composee sont admirables.

Le fronton place au-dessus de 1' entree principale est orne d' un beau bas-relief, de
soixante-quatorze pieds de longueur, execute par Lemot, et qui represente les neuf
Muses, faisant hommage au souverain. Le bas-relief place au-dessus de la porte prin-
cipale, est de M. Cartellier, et represente une figure de la Renommee, distribuant des
couronnes. Les grilles, placees au centre par Bonaparte, sont de bronze et magnifique-
ment ornees. On doit aussi a Napoleon quelques ameliorations qui, pendant son regne,
ont etc faites a la Colonnade du Louvre.

PALAIS DE JUSTICE.

ON avait donne autrefois a cet edifice le nom de Palais, pour indiquer qu'il 6tait
la demeure de la royaute. On dit qu' Eudes fut le premier qui 1' habita, et que ce fut
lui qui fit clever, dans son enceinte, des tours dont quelques unes existent encore. Ce
palais fut agrandi ensuite par St. Louis, qui en fit sa demeure. Philippe-le-Bel y fit
aussi des changemens importans, et Charles VIII., Louis XL, et Louis XII., suivant son
exemple, contribuerent a son embellissement. La Grande Salle de la Justice fut detruite
par un incendie, en 1618, et quelques restes qui avaient echappe a ce desastre, dispa-
rurent dans un autre de la meme sorte qui eut lieu en 1776. L' ancienne salle, de lu
meme grandeur que celle qui fut detruite par le feu, et placee immediatement au-dessous,
existe encore dans toute son ancienne grandeur. La nouvelle salle de-dessus fut reb&tie
par Desbrosses, et termin6e en 1622. Les architectes Moreau, Desmaisons, Contune,
et Antoine tacherent de donner plus de regularite aux differentes parties qui dependent
de ce bel edifice, mais les evenemens de la Revolution vinrent interrompre leurs efforts.

Le Palais de Justice rappelle des souvenirs historiques du plus grand interet. C'est

la que les rois de France recevaient les ambassadeurs, et donnaient les fetes nationales.

La Grande Salle etait autrefois ornee des statues des rois de France, mais 1' incendie qui

eut lieu en 161& et detruisit la salle, consuma aussi ces statues, ainsi qu'une table de

marbre magnifique a la quelle les princes du sang royal avaient seuls le droit de s'asseoir.

La Cour de Cassation, la Cour Royale, les Cours Civiles et la Cour de 1' Echiquier

tiennent leurs seances dans ce palais. Des boutiques, dans les quelles sont exposees di-

verses marchandises, etqui se trouvent sous plusieurs des galeries du Palais lui donnent

un air bizarre qui nuit a 1' ensemble de 1' edifice.

16

PALAIS BE JUSTICE, HROML THE COURT YAEB.

Lcndm. R

IDE GHENEKXK.

VIEW FROM THE PONT DES ARTS.

WE have already noticed the situation of the Pont des Arts. The prospect from it
rivals that from the Pont Royal, said to be the grandest in Europe. It commands the
most important Quays, in point of beauty and splendor. The magnificent Colonnade of
the Louvre is the point d' appui of the view ; that of the Tuilleries rises in continuation.
The Palais des Arts and the Hotel des Monnaies form prominent features on the opposite
side. In the distance are the venerable towers of Notre Dame. The whole length of
the river, on the side of the Louvre, stretching through the Pont Royal, to the Pont Louis
XVI., is lined by buildings of the noblest character. To the Pont Neuf, looking towards
Notre Dame, is a most pleasing view. The whole scene afforded from this beautiful
bridge'_is not to be equalled, in point of grandeur of effect, in any city in Europe.

RUE DEfJRIVOLI.

THE gardens of the Tuilleries, on the side of the Terrasse de Feuillans, was enclosed
by an ancient wall ; outside this enclosure, and running' the whole length of the wall,
were the houses, and gardens, and court-yards of the Capucins and the Feuillans. Upon
these premises, in the year 1790, a hall was constructed for the sittings of the Constituent
Assembly, which, as well as the Conventional Assembly, there closed their existence. It
was afterwards appropriated to the Council of Five Hundred : when, finally, Bonaparte
issued orders for the removal of the whole of the buildings within the enclosure, and
upon the site of the whole premises was opened, in 1802, a very noble street, com-
mencing at the Place Carrousel, and terminating at the Place Louis XV. Napoleon gave
it the name of Rue de Rivoli, in commemoration of a victory gained by the French
troops over the Austrians, in 1797. It is only built on one side, commanding a view of
die Gardens of the Tuillevies on the other, for regularity of structure and magnificent
appearance this street might vie with any which the finest cities in Europe could
produce.

VUE BU PONT DES ARTS.

Nous avons deja parle de la situation du Pont des Arts : le point de vue qu'il offre
le dispute presque en beaute a celui du Pont Royal, qu'on dit etre le plus beau de
1' Europe. On aper§oit de ce pont les Quais les plus importans, sous le rapport de la
beaute. La magnifique Colonnade du Louvre forme le point d' appui et celle des Tuil-
leries se presente en continuation. De 1' autre cote on remarque le Palais des Arts et
1' Hotel des Monnaies. Dans le lointain on ape^oit les anciennes tours de Notre Dame.
Le bord de la riviere, du cote du Louvre, est couvert de batimens de la plus grande
beaute. Au-de-la du Pont-Neuf et vers Notre-Dame, se presente une perspective char-
mante, et il serait peut-6tre difficile d'en trouver une en Europe qui put egaler le coup
d'ffiil qu'on obtient du Pont des Arts.

RUE DE RIVOLI.

LE Jardiu des Tuilleries, du cote de la Terasse des Feuillans, etait autrefois entoure
d'un mur, dont toute la longueur etait occupee par lesmaisons, les jardins et les coursqui
appartenaient aux Capucins et aux Feuillans. C'est la qu'on batit, en 1 790, une salle ou
1' Assemblee Constitutionelle tint ses Seances, etoi), ainsi que 1' Assemblee Conventionelle,
elle termina son existence. Elle servit ensuite au Consul des Cinq Cents ; mais Buon-
aparte ordonna qu'on abattit tous les batimens qui s' y trouvaient, et il fit batir ii leur
place, en 1802, une rue magnifique, qui commence a la Place du Carroussel, et se termine
a la Place Louis XV. Napoleon lui fit donner le nom de Rue de Rivoli en commemo-
ration d'une victoire remportee par 1' armee francaise sur les Autrichiens, en 1797. Elle
n'est batie que d'un cote, de manic-re que les habitans jouissent de la vue des Jardins des
Tuilleries. Cette rue peut se comparer, sous le rapport de sa regularite et de sa magni-
ficence, a ce qui se trouve de plus beau dans aucune ville de 1' Europe.

18

T Kearcjai. iei*

"VIEW TAKEN FROM THE PONT DES ARTS

iELUE DE RIVOJLI.

PALACE OF THE LUXEMBOURG.

THE Palace of the Luxembourg is situated in the Faubourg St. Germain, Rue de
Vaugirard. It first received the name of the Palais d' Orleans ; in the Revolution it
was called the Palais du Directoire, afterwards the Palais du Consulat, and the Palais du
Senat Conservateur ; it is now called the Palais de la Chambre des Pairs, though more
generally known by its title of the Luxembourg. It is considered next in importance and
grandeur to the Louvre ; over which it has the advantage of having been planned and exe-
cuted by the same architect. Le Bernin expressed his opinion that it could not possibly be
exceeded in regularity of design or beauty of execution. Desbrosses was the architect, who
completed it in six years for Marie de Medicis. Her son Gaston de France came in pos-
session of it. It was successively the residence of the Duchess of Montpensier, and the
Duchess of Guise. It came again into the possession of the baron, and Louis XVI. in
1779, gave it to Monsieur. It is now the Chamber of Peers. It forms nearly a square.
The front towards the Rue Tournon and the Garden, is 360 feet in length, and the other
fronts about 300 feet. The principal entrance is from the Rue de Tournon ; from this
side the fagade presents, at each end, two pavilions, and in the centre is a dome, or-
namented by several colossal figures holding wreaths of flowers. The Court is of great
extent, and is flanked on each side by corresponding buildings. The principal orders em-
ployed are the Tuscan on the ground plan, the Doric on the first floor, and these are
surmounted by the Ionic. The architecture throughout is distinguished for its bold and
masculine character.

PALACE OF THE DUKE OF ORLEANS.

THE front of this Palace, toward the Rue St. Honor6, was built by Philippe, the
Due d' Orleans, after the destruction of the Opera House, in 1763. It has two pavilions,
adorned with Doric and Ionic Columns, and crowned with pediments, finely sculptured
by Pajon, with the figures of Prudence and Liberality on the left compartment and
Strength and Justice on the right. On entering the part of the Palace occupied by the
Duke, on the left of the vestibule, is the Gallery of Virginia, formerly occupied as the
Exchange, and on the right is the grand staircase, which was constructed by Desorgues,
and is adorned with two genii in bronze. This building is attached to the Palais-Royal.

PALAIS DU LUXEMBOURG.

LE Palais du Luxembourg est situe dans le Faubourg St. Germain, Rue deVau-
girard. On 1' appelait autre fois le Palais d' Orleans ; on lui donna pendant la Revolu-
tion le nom de Palais du Directoire, ensuite ceux du Palais du Consulat, Palais du
Semat Conservateur, et on 1' appelle maintenant Palais de la Chambre des Pairs, quoi
qu'il soit plus connu par lenomdu Luxembourg. C' est apresle Louvre le plus important
des Palais de la capitale, et il a sur celui-ci 1' avantage d' avoir ete commence et fini par
le meme architecte. Le celebre Le Bernin disait qu' il etait impossible de surpasser ce
Palais quant a la regularite du dessin et la beaute de 1' execution. C' est Desbrosses
qui le batit en six annees, pour Marie de Medicis, dont le fils, Gaston de France, en cut
possession. II fut ensuite occupe par la Duchesse de Montpensier et par la Duchesse de
Guise. II retomba apres entre les mains de la Couronne, et Louis XVI. le donna, en
1779, a Monsieur. C' est maintenant la Chambre des Pairs. II a a peu pres la forme
quarree. La fa$ade qui est vers la Rue Tournon et le Jardin a 360 pieds de longueur,
et les autres, a peu pres 300. L' entree principale est daus la Rue de Tournon: de ce
cote on voit a chaque bout de la facade deux pavilions, et au centre se trouve un dome,
orne de plusieurs figures colossales, portant des guirlandes de fleur. La "cour, qui est
tres grande, a de chaque cote deux batimens qui se correspondent. Les ordres d' archi-
tecture dont on s' est servi sont, le Toscau, au rez-de-churessee, le Dorique, au premier
etage, et au-dessus 1' lonique. Toute 1' architecture de ce palais se fait remarquer par
un caractere de hardiesse et de grandeur.

PALAIS DU DUC D ORLEANS.

LA facade de ce Palais, du cote de la Rue St. Honore a ete butie par Phillippe,
Due d' Orleans, apres la destruction de 1' Opera, en 1763. On y voit deux pavilions,
ornes de colonnes Doriques et loniques et surmontes de frontons, sculptes par Pajon, et
unit's a gauche des statues de la Prudence et de la Liberalite, et a droite de celles de la
Force et de la Justice. En entrant la partie du Palais, occupe par le Due, on trouTe a
gauche du vestibule la Gallerie de Virginie, ou etait autre fois la Bourse, et a droite le
grand escalier, qui a et£ construit par Desorgues, et qui est orne de deux genies, en
bronze. Get edifice fait partie du Palais-Royal.

20

OF

•»( d*»* la RIM de Tournon . de c*

pMYihati? *t m eentov «e tronve un dome,

i (EMrffeMtai «!«• fowr. La ,i est

•••HM<yi« limit. Les ordres d' archi-

•>!»•>», le D'

•

t sllliiiiilK.

•• Due, o
-

• est on

!

PALACE OF THE LUXEMBOURG.

E .OF THE DUKE OF

I-.N PROMT.

rL. R-'trminys, PvultrjiJan.

SCREEN TO THE CHAMBER OF DEPUTIES.

THIS Screen, or principal entrance to the Courts of the ci-devant Palais Bourbon,
now the Chamber of Deputies, is of very noble dimensions, the handsomest of the kind
in Paris, and carries with it an idea of belonging to a palace of the most splendid order.
It consists of a fine portico, with a rich lateral colonade of the Corinthian order, ex-
tending each way. The first court, being 280 feet long and 162 broad, presents nothing
very uncommon or excellent of architectural display. The inner court, or Cour d'Honneur,
is more characteristic of grandeur; it is 140 feet by 96, and presents some very fine
compartments of the palace. At the extremity of this court is a portico, with eight
Corinthian columns, originally constructed for the principal entrance to the Chamber of
Deputies. The two figures, placed upon pedestals, in front of the inner portico, are
Minerva, and a personification of Strength, the former chiseled by Bridan, the latter by
Espercieux. Those supporting the dial were the work of Fragonard.

BANK OF FRANCE.

THE Hotel of the Bank of France, previous to having been devoted to the public
service, was the residence of several of the French nobility. It was constructed, in
1620, for M. de la Vailliere, from the designs of Fra^ois Mansard. The Comte de
Toulouse having made a purchase of it, in 1713, employed Robert de Cotte to repair
and embellish it, and to make to it a number of important additions. At the death of
this Prince, it fell into the hands of the Duke of Penthievre, who occupied it until it
became national property ; and the fine and numerous paintings which then embellished
it were partly bought up by various individuals, and partly became a portion of the
Muste. The Hotel de Toulouse was appropriated, in 1811, to the administration of the
Bank of France ; a number of alterations then took place in this structure, under the
direction of M. Delaunoy. The chief improvement effected by this architect is in
the principal front, which faces the Place des Victoires. The talent of M. Delaunoy is
here effectually displayed. The disposition of the arcade, with its pilasters of the Doric
order, is admirably studied ; and the sculptural parts are so arranged as to enrich with-
out surcharging this part of the building.

21

PORTIQUE DE LA CHAMBRE DES DEPUTES.

Le portique de la Chambre des Deputes, (autrefois Palais-Bourbon) est un des plus
beaux de Paris, et ses dimensions donnent 1' idee d'un palais de la plus grande ma-
sjnificence. II consiste d'un beau porche, ayant une ranged laterale de colonnes de
1' ordre Corinthien. La premiere cour, de 280 pieds de longueur et 162 de largeur n'oflre
rien d'extraordinaire sous le rapport de 1' architecture : 1' autre cour, qui a 140 pieds de
longueur et 96 de largeur, offre a la vue une belle partie du palais, qui lui donne un air
de grandeur. A 1' extreinite de cette cour est un porche, compose de huit colonnes de
1' ordre Corinthien, qu' on avait d'abord eleve pour 1' entree principal^ de la Ohambre
des Deputes. On voit deux statues, en face du porche interieur ; 1' une, qui repr^sente
la Force, est d' Espercieux, 1' autre, representant Minerve, a etc sculptee par Bridan :
celles qui supportent le cadran sont de Fragonard.

BANQUE DE FRANCE.

L' Hotel approprie maintenant, au service de la Banque de France, etait autrefois
la demeure de plusieurs families nobles. II fut bati, en 1620, pour M. de la Vail-
liere d' apres les dessins de Francois Mansard. Le Comte de Toulouse, en ayant fait
P acquisition, en 1713, y fit faire des reparations par Robert de Cotte, qui y fit aussi
des additions importantes. A la mort de oe prince, cet hotel passa entie les mains du
Due de Penthicvre qui P occupa jusqu' a ce qu' il fit partie des biens nationaux : une
partie des beaux tableaux qui s' y trouvaient alors fut achetee par differens individus ;
et le reste fut place au Musee. L' Hotel de Toulouse fut approprie, en 1811, a P ad-
ministration de la Banque de France, et il se fit alors, sous la direction de M. Delaunoy
un grand nombre de changemens dans sa construction. Cet architecte fit surtout preuve
du talent qui le distingue dans la fapde principale, qui est en face de la Place des Victoires.
La disposition de P arcade, avec ses piliers de P ordre Dorique, est dans le meilleur gout
et les sculptures sont placees de maniere a embellir P edifice.

22

SCREEN TO THE r

': TIMMBEH. uy DKPJTTTES

•

SCJREEN TO THE COURT 1ABIK CHAMBER OF DEPUTIES

BANQUE-BE FRANCE,

l.eiutan. fUenrun&f, Poultry. fe/-s

ITALIAN OPERA.

THE facade of this theatre consists of six columns of the Ionic order, which are
freely proportioned and destitute of all ornament. Its site is well chosen, and the
buildings around it, from their regularity, are calculated to give it an imposing appear-
ance. Much cannot, however, be said in favor of the general arrangement of the struc-
ture ; and it is greatly to be regretted that the ill-judged prejudices of the actors pre-
vented the architect, M. Heurtier, from placing the front of the theatre towards the
Boulevards. A fine perspective might have been obtained, and the whole appearance of
the quarter built upon the site of the Hotel de Choiseul, would have been greatly im-
proved. A short time after its erection, the theatre underwent considerable alterations.
De Wailly constructed two additional tiers of boxes, and effected other improvements.
In 1797, M. Bienaime was employed to make new changes in its appearance. He gave
the interior a speroidical form, altered the arrangement of the boxes, removing those on
the stage to make way for staircases, and effected some improvements in the orchestra,
and in fine gave the whole interior a new appearance..

The Italian Company after leaving the Rue Manconseil, occupied for some time the
Theatre Feydeau, whence they removed to that which we have just described. It is
called the Theatre Favart. Madame Catalani, at one time, held this theatre, but gave
it up as an unprofitable speculation.

THE EXCHANGE.

THE Bourse, or Exchange, is situated in the Rue Filles St. Thomas. The old
Exchange was originally established in a part of the Palace Mazarin, in the building
now occupied as the Treasury. At the time of the Revolution it was transferred to the
Petits-Pbres, afterwards to the Galerie de Virginie of the Palais Royal. The first stone
of the new Exchange was laid in 1808. It was commenced under the direction, and
from the designs of the celebrated architect, Brongniart. It occupies a space which
formerly belonged to the convent of the Filles de St. Thomas. It is in form a long
square, running in length to 212 French feet, and in breadth 128 feet. It presents a
perfect peristyle, with Corinthian columns each way in front, raised upon a basement of
about eight feet in height. The columns are 66 in number, forming a fine piazza about
the building, and the whole appearance of the structure is imposing and magnificent to
a high degree. A handsome vestibule leads on the right to the private apartments
appropriated to the brokers, and on the left to the Tribunal of Commerce, which is also
attached to this building. A spacious room of about 116 feet long, and 75 broad,
capable of holding 2,000 persons, is appropriated to the business of the Exchange.
Brongniart, the architect, did not live to see his noble work completed. He died in
1813, and M. Labarre, at his death, superintended the structure until its completion.
The interior is well conceived. The communications between the different offices, the
Tribunal, &c. are managed in the most convenient manner imaginable. It is considered
one of the most perfect and handsomest edifices of the kind in Europe.
23

THEATRE DES ITALIENS.

LA fagade de ce theatre est composee de six colonnes, de 1' ordre lonique, d' une
belle proportion et sans le moindre ornement. La situation est bien choisie, et les
batimens qui 1' entourent, ajoutent, par leur regularite, a I' efiet qu' il produit. On ne
peut cependant gu^res admirer la construction de ce theatre, et il est a regretter que les pre~
juges des acteurs aient empech^ 1' architecte, M. Heurtier, d'en placer la facade prin-
cipale en face des Boulevards, car par ce moyen on cut obtenu un beau point-de-
vue, et augmente la beaute du quartier bati sur 1' endroit oft etait autrefois P H6tel de
Choiseul. Peu de temps apres que ce theatre fut bati, on y fit des changemens consi-
derables : De Wailly y ajouta deux rangees de loges, et y fit d' autres ameliorations.
M. Bienaime qui fut charge, en 1797, d' y faire de nouveaux changemens, donna a I'
interieur une forme speVoidique, changea 1' arrangement des loges, et abatit celles qui
etaient sur 1' avant-sc^ne, afin de mettre i leur place des escaliers : il fit aussi quelques
changemens a 1' orchestre, et enfin donna a tout 1' interieur une nouvelle apparencev

La troupe Italienne, apres avoir quitt6 la Rue Mauconseil, occupa pendant quelque
temps le theatre Feydau, d' ou elle alia donner ses representations a celui que nous
venons de decrire, et auquel on a donne le nom de Theatre Favart.

La celebre Catalan!, qui avait pris ce theatre, s' en defit bientot apres, comme
d' une entreprise qui ne repondait pas a ses esperances.

LA BOURSE,

LA Bourse est situee dans la Rue Filles St. Thomas. Elle etait autrefois etablie
dans une partie du palais Mazarin, et dans le batiment qu'occupe maintenant la Treso-
rerie : elle fut transportee, lors de la Revolution, aux Petits-Peres, et ensuite & la Galerie
de Virginie, au Palais-Royal. On posaen 1808, la premiere pierre de la nouvelle Bourse,
et ce batiment fut commence' sous la direction et d'apres les desseins du celebre archi-
tecte Brongniart La place qu'il occupe appartenait autrefois au convent des Filles St.
Thomas. II a 212 pieds de longueur, et 126 de largeur. II presente un peristyle parfait,
avec des colonnes de 1* ordre corinthien de chaque cote, elevees sur un soubassement
d'a peu pres 8 pieds de^ hauteur. II y a soixante-six colonnes qui forment autour de la
Bourse un tres beau Piazza, et lui donnent un air de grandeur et de magnificence. Un
beau vestibule, sur la droite, conduit aux appartemens destines aux agens de change, et
sur la gauche, au Tribunal du Commerce qui est aussi attache si ce batiment Une salle
d'a peu pres 116 pieds de longueur, et 75 de largeur, faite pour contenir 2,000 personnes,
est destiuee aux affaires de la Bourse. L' architecte Brongniart ne vit pas terminer ee
bel ouvrage ; il mourut en 1813, et M. Labarre fut charge, apres sa mort, de surveiller au
perfectionnement de c« batiment. L' interieur en est tres bien con§u, et les passages de
communication entre les differens bureaux, le Tribunal, 8cc. sont on ne peut mieux dis-
poses. On regarde avec raison la Bourse, comme 1' un de plus beaux edifices qui
se voient en Europe.

24

cornme

LA BOURSE,

r T Bury

ITAJJAN ®>PETRA HOUSE,

SOUTH

SAINTE CHAPELLE.

ST. Louis of France purchased of the Emperor Baudouin, and at a vast expense, a
number of relics, part of which consisted of the crown of thorns, said to have been the
identical one worn by the Saviour ; a part of the cross itself, part of the mantle he wore,
and the point of the lance with which he was pierced. The whole of these were received in
Paris, with solemn pomp ; and for their reception, the king ordered the erection of Sainte
Chapelle. It was commenced about the year 1242, and finished in 1248. Pierre de
Montreuil, one of the most skilful architects of the day, who distinguished himself
greatly in producing the most elegant forms of Gothic architecture was employed in
its construction. It was built upon the site of the old chapel of St. Nicolas, founded
by King Robert, that is, on the spot bounded on the south by the Pont St. Michel, and
on the north by the Pont au Change. This chapel is remarkable for being divided into two
stories. The upper story was devoted to the service of the king and his officers ; it is
about 110 feet in length, and 27 feet in breadth. In the lower part of the chapel the
famous poet Boileau was interred. The Sainte Chapelle is now appropriated to purposes
widely differing from its original destination. It is filled with the Archives, or records of
the courts of justice, which are arranged in admirable order, and occupy the greater
part of the interior.

THE CAFE TURC.

IT is situated on the Boulevard du Temple, and is built in the Turkish style, as its
name implies. Paris is as much celebrated for its Coffee-houses as for its public build-
ings. According to a recent calculation there are, in Paris, 787 of these houses.
Many of them are distinguished for such elegance and grandeur, as must strike persons
previously unacquainted with them with astonishment. The coffee room of the Cafe
Turc is the handsomest in Paris, and in addition, it is distinguished for its gardens,
which are laid out in the finest taste. Concerts are occasionlly given within them, and it
has also a billiard room. It forms a very prominent object in this part of the Boulevards.

25

H

SAINTE-CHAPELLE.

SAINT-LOUIS acheta de 1' Empereur Baudouin, et a un prix immense, un grand
nombre de reliques parmi les quelleson distinguait une couronne d'epines qu'on dit avoir
etc celle portee par Jesus-Christ, une partie de la croix a la quelle il fut attache, un mor-
ceau de sa robe, et le fer de la lance dont il fut perce. Toutes ces reliques furent revues
a Paris avec la plus grande veneration et toute la pompe possible. St. Louis qui alia
lui-meme au devant d'elles, fit batirja Sainte-Chapelle pour leur reception. Elle fut
commencee vers 1' annee 1242, et finie en 1248. Pierre de Montreuil, 1' un des meilleurs,
architectes de cette epoque, et a qui 1' on doit quelques uns des plus beaux monumens
gothiques qui existent en France, fut charge de batir cet edifice, sur 1' emplacement ou
se trouvait autrefois la Chapelle de St. Nicolas, fondee par le roi Robert, c'est a dire dans
1' espace born6 an Midi par le Pont St. Michel, et au Nord par le Pont au Change.

Cette eglise est double. La chapelle superieure, qui a a peu pres 1 10 pieds de
longueur, sur 27 de largeur, etait employee au service du roi et de ses officiers. C'est
dans F edifice inferieur, qu'on appelait autrefois Basse Sainte Chapelle, que fut enterre le
celebre Boileau. La Sainte Chapelle sert maintenant a un usage bien different de celui
au quel elle fut d'abord destinee. Elle contient les Archives des Cours de Justice, qui y.
sont admirablement arrangees, et qui en occupent presque tout F interieur.

LE CAFE TURC.

PARIS est presqu' aussi renomme pour F elegance de ses Cafes, qu pour la beaute
de ses Monumens publics. On calcule qu'il y a a Paris 787 Cafes, dont plusieurs se
font remarquer par une elegance et une grandeur qui doivent etonner les etrangers.

Le Cafe Turc, situe sur le Boulevard du Temple, est bati, comme son nom F indique,
a F instar de ceux de Turquie. Le salon de ce Cafe est un des plus beaux de Paris, et
F on en admire aussi les jardins, qui sont disposes avec un gout particulier, et ou F on
donne ordinairement des concerts. Ce Cafe", ou F on trouve aussi une salle de Billiard,
est un des principaux ornemens du Boulevard du Temple.

26

SAINTE

CAFE TUK.C.

rnmOi A*u:

c 4k M.

beaux i

•it OH

Aob*rt, c • dans

>f<i par le Pont au Change.
.'ll<- •<••; > « peu prcs 1 10 pieds de

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,t,t1d>ir Mrtn&w &*** Sainte Chapelle, quu fut enterre le
Mttti ««t m»inU)n*knt A itu usage bien different de •
Ell* cuttMBt W Archives des Cours de Justice, qui v

RC.

«t y iv doivent

•unit .

Le ».

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SAIWTE, CHAPJ

London B JtrmrUK Pmltrv. Fit? 2&lStS>.

CAFE TURC.

Loncbm.RJmw4s. Poultry. Feb? J61829

PORTE ST. MARTIN.

THE Porte St. Martin is situated on the Bouvelard of that name, and separates the
Rue St. Martin from the Faubourg St. Martin. It is a triumphal arch, constructed in
1674, from the designs of Pierre Bullet, a pupil of the celebrated Francis Blondel, who
erected the Porte St. Denis. It forms a square, in height and breadth of about 54 feet ;
and is divided into three arches, the centre one being of the height of 30 feet and of
the depth of fifteen feet, and the others 8 feet wide and 16 feet high. In the spaces
over the smaller arches are two bas-reliefs, the one depicting the conquests of Louis XIV.
and the other exhibiting the figure of this king, in Herculean proportions, dealing death
around him, and receiving a victorious crown. On the faubourg-side the bas-reliefs
represent the taking of Limbourg, and the defeat of the Germans. These bas-reliefs are
the united work of Desjardins, Marsy, Le Hongre, and Legros. The whole is surmounted
by a pediment, bearing, on the side of the city, this inscription : —

LUDOVICO MAGNO, VESONTIONE SEQUANISQUE BIS CAPTIS, ET FRACTIS
GERMANORUM, HISPANORUM ET BATAVORUM EXERCITIBUS, PRCEF. ET (EDJL.
PONI CC. ANNO R. S. H. M.DC.LXXIV.

On the side of the faubourg is this inscription : —

LUDOVICO MAGNO, QUOD LIMBURGO CAPTO IMPOTENTES HOSTIUM MINAS
UB1QUE REPRESSIT, PRO3F. ET O2DIL. PONI C.C. ANNO R. S. H. M.DC.LXXV.

PORTE ST. DENIS.

THE Porte St. Denis separates the Rue St. Denis from the faubourg of that name.
It is in the form of a triumphal arch ; it was erected in 1672, from the designs of Francis
Blondel, in commemoration of the success of the French arms about that period. Blondel
has in this structure employed all the resources of his genius. He was powerfully
seconded in his efforts by Michel and Francis Anguier, who executed the sculptural parts
with the happiest effect. It is about 72 feet in breadth, and is of the same height. The
arch is carried to the height of about 42 feet The front, towards the city, partakes of
two architectural forms, the pyramid and obelisk ; the latter parts are decorated with
antique trophies, executed in excellent style. At the base of each of these obelisks is a
figure of colossal dimensions, the one representing the States of Holland, the other the
Waters of the Rhine. These two figures, of very excellent chiseling, are from the
designs of Lebrun. Over the arch is a tablet, which represents, in bas-relief, Louis XIV.
on horseback, dressed as a Greek warrior, who is identified, in spite of this disguise, by
his flowing wig. Upon the frieze are the words : LUDOVICO MAGNO. On the faubourg-
side the decoration is the same, with this exception, that the bas-relief represents the
taking of Maestricht. Instead of the human figures lions are substituted. The in-
scription disappeared in the time of the Revolution. In 1807 government ordered its
restoration. This gate of St. Denis, or, more properly speaking, triumphal arch, is ac-
knowledged to be one of the greatest ornaments which graced the reign of Louis XIV.
and which does honour to the capital it so greatly adorns.
27

PORTE ST. MARTIN.

LA Porte St. Martin, qui est situee sur le Boulevard de ce nom, separe la
Rue, du Faubourg, St. Martin. C'est, comme la Porte St. Denis, un arc de triomphe,
et elle fut batie en 1674, d' apres les dessins de Pierre Bullet, 61eve du celebre
Fran§ois Blondel, qui erigea la Porte St. Denis. Cet edifice a cinquante pieds
d' elevation sur une largeur pareille, et quinze pieds d' epaisseur. II est perce de trois
arcades : celle du milieu a quinze pieds de largeur et trente de hauteur ; les deux autres
n'ont que hurt pieds de largeur et le double de hauteur. Au dessus de ccs deux derniers
on voit deux bas-reliefs, dont 1' un represente les victoires de Louis XIV. et sur V autre
on a represente ce monarque, fort comme Hercule, comme lui terrassant tout ce qui
1'approche, et recevant une couronne. Les bas-reliefs du cote du faubourg representent
la prise de Limbourg et la de"faite des AHemands. Us ont ete executes par Desjardins,
Marsy, Le Hongre, et Legros. Le tout est surmonte d' un fronton, portant du cote de la
ville, cette inscription :

LUDOVICO MAGNO VESONTIONE SEQUANISQUE BIS CAPTIS ET FRACTIS
GERMANORUM, HISPANORUM ET BATAVORUM EXERCITIBUS, PHOJF. ET OCDIL. PONI
C. C. ANNO R. S. H. M.DC.LXXIV.

Du cote du faubourg :

LUDOVICO MAGNO, QUOD LIMBURGO CAPTO IMPOTENTES HOSTIUM MINAS

UBIQUE REPRESSIT, PRO2F. ET OEDIL. PONI. C. C. ANNO R. S. H. M.DC.LXXV.

PORTE ST. DENIS.

LA Porte St. Denis, qui separe la Rue St. Denis du faubourg de ce nom, a la forme
d' un arc de triomphe. Elle fut batie en 1672, en commemoration du succes des armees
franchises a cette epoque, et d' apres les dessins de Francois Blondel, qui fit alors preuve
de tout son genie. II fut noblement seconde par Michel et Francois Anguier qui en
ex^cuterent les sculptures avec de plus le grand succes. Cet edifice a a peu pres 72
pieds de largeur et de hauteur, et 1' arc s' eleve a pres de 42 pieds. La facade du cote
de la ville a deux formes d' architecture, 1' une en pyramide et 1' autre en obelisque :
ces derniers sont ornes de trophes executes dans le meilleur gout. Au bas de chacun
de ces obelisques est une statue de grandeur colossale ; 1' une represente les etats de la
Hollande, I' autre les eaux du Rhin. Ces deux statues, d' une sculpture exquise, sont
d' apres les dessins de Lebrun. Au dessus de 1' arc est une tablette qui represente, en
bas-relief, Louis XIV. a cheval, sous la forme d' un guerrier Grec,mais qu' on reconnait,
malgre ce deguisement, a sa grande perruque. Sur la frise de 1' arc sout ces mots :
LUDOVICO MAGNO. Du cote du faubourg St. Denis, les ornemens different en ce que
le bas-relief represente la prise de Maastricht, et qu' on a mis des lions au lieu des deux
statues. L' inscription qui avait disparu pendant la Revolution, fut replacee, par ordre
du gouvernement, en 1807.

On regarde avec raison la Porte St. Denis, comme 1' une des plus belles productions
du siecle de Louis XIV. au quel elle fait honneur ainsi qu' a la ville dont elle est 1' un
des plus beaux ornemens.
28

©

VI

©

. - ••

Ed

h

FONTAINEBLEAU. COUR DE LA FONTAINE.

THE Gourde la Fontaine is the most pleasant of all those attached to this cele-
brated Chateau, both on account of its situation, and of the prospects it affords. The
fountain to which it owes its name, and which will be described in another part of the
work, has three times changed its form and place.

The first story of the right wing of this Court was formerly appropriated for the
dowager queens. It was there that the Emperor Charles V. lodged, when he came to
Paris, in 1539 : the same apartment was occupied by Pope Pius VII. when he came
to France, in 1804, and he was there kept in captivity from the 20th of June, 1812, till
the 23d of January, 1814.

The left wing, remarkable for its double flight of steps, the disposition of its plan,
and for its architecture at once pure and noble, is one of the parts of this Chateau which
are attributed to S. Serlio. It contains. a theatre, with three rows of boxes, adorned
with rich ornaments and paintings, after drawings made by Claude Andran.

FONTAINEBLEAU. PLACE D' ARMES.

ONE of the principal entrances into the Chateau (which will form the subject of
another plate) is from the Place (f Armes, through a noble portico, seventy-four feet
high and forty-two wide. On a tablet of black marble, placed over this entrance, is the
following inscription in letters of gold : —

HENRICUS QUARTUS, FRANCIS ET NAVARRE REX CHRISTIANISSIMUS, BEL-
LATOR FORTISSIMUS, VICTOR CLEMENTISSIMUS, REBUS AD MAJESTATIS ET

PUBLICS SALUTIS FIRMAMENTUM COMPOSITIS, HUNC REGIUM AUSPICATO RE-
STAURAVIT, IMMENSUM AUXIT, MAGNIFICENTIUS EXORNABIT, ANNO M.DC.IX.

29

FONTAINEBLEAU. COUR DE LA FONTAINE.

LA Cour de la Fontaine est la plus agreable de ce Chateau, par son exposition et
ses points de vne. La fontaine qui lui donne son nom et dont nous parlerons dans
une autre partie de cet ouvrage, a change trois fois de forme et de place.

Le premier etage de 1' aile droite de cette Cour formait 1' ancien appartement des
reines-meres. C'est la que fut logo 1' empereur Charles Quint, lorsqu' il vint a Fon-
tainebleau en 1539: ce meme appartement fut occupe par le pape Pie VII., lorsqu' il
vint en France a la fin de 1804, et c' est la qu' il fut retenu captif, depuis le 20 Juin
1812, jnsqu' au 23 Janvier 1814.

Le batiment de 1' aile gauche remarquable par son double escalier, la disposition
de son plan, et son ordonnance pure et riche, est une des parties de ce chateau attribute
a S. Serlio. II contient un theatre, dont la salle a trois rangs de loges, richement
ornees, et dont les peintures ont etc executees sur les dessins de Claude Andran.

FONTAINEBLEAU. PLACE D ARMES.

LA principale entree du chateau de Fontainebleau (qui fournira le sujet d'une des
gravures de cet ouvrages), est du cote de la ville, sur la PLACE D' ARMES, par un beau
portail de soixante quatorze pieds de haut, sur quarante deux de large. Sur une table
de marbre noir, on y lit cette inscription en lettres d'or : —

HENRICUS QUARTUS, FRANCIS ET NAVAHR^E REX CHRISTIANISSIMUS, BEL-
LATOR FORTISSIMUS, VICTOR CLEMENTISSIMUS, REBUS AD MAJESTATIS ET
I'lBLH/T. SALUTIS FIRMAMENTUM COMPOSITIS, HUNC REGIl'M Al SPIC'ATO RE-
STAURAVIT, IMMENSUM AUXIT, MAGNIFICENT1US EXORNABIT, ANNO M.DC.1X.

30

•

u. PLACE IT ARMIES.

d liy J HaroU

*£At7. COUK BES FO

FONTAINE DES INNOCENS.

Tins monument is justly considered as one of the finest of the sort existing in
France. It was erected, in 1551, at the corner of the Rue aux Fers, after the drawings
of Pierre Lescot and Jean Goujon. It was thought necessary, when the church of the
Innocens was demolished, to place a fountain on the spot it occupied ; and it was at-
tempted, under the direction of Messrs. Poyet, Molinos, and Legrand, to carry to this
spot the fountain above mentioned, and to add to it a fourth side, become necessary
from its isolated situation. The fountain was consequently taken to pieces, carried and
rebuilt, without any of the sculptures being in the least degree injured. These sculp-
tures, which consist of Water-gods, Tritons, and Naiads, are by Jean Goujon ; with the
exception of those that have since been added by M. Pajon. The harmony of the
whole structure has always been greatly admired, and the exquisite taste of the
original architect of the Louvre is visible throughout. The characteristic figures which
distinguish the works of Jean Goujon are elegance of form, simplicity of contour,
grace of movement, and the most easy flow of drapery.

The height of the fountain is forty-two (French) feet ; the water, which is supplied
by the Canal de I' Ourcq, rises to the top of the cupola, and falls again into a conque,
whence it descends upon a platform, and, escaping to fill four other conques, falls again
into a large square bason, constructed at the foot of the monument, and in which are
placed four lions, out of whose mouth water issues in abundance. A small tablet of
black marble bears this inscription : FONTIUM NYMPHIS ; and on the fountain were also
engraved these two lines, written by the poet Santeuil:

Quos duro cernis simulates marmore fluctus,
Hujus Nympha loci credidit esse suos.

FONTAINE GAILLON.

THE Rue de Gaillon, thus named from an Hotel which stood at the corner of it,
extended formerly, on one side, to the Rue St. Honors, and passing, on the other,
between the H6tel de Richelieu and that of la Valliere, reached one of the gates of
Paris, which was hence called Porte Gaillon. Louis XIV. having ordered, in 1645, that
all the ground between the gates St. Denis and St. Honore should be sold, and edifices
built on it, that part of the Rue GazV/ow which was beyond the Rue Neuve-Saint-Augustin
was razed, and the gate bearing its name demolished, in 1700.

It is near the street of that name that the fountain Gaillon has lately been erected.
The architect, M. Visconti, enjoys in Paris a considerable reputation, and the fountain
he has built greatly embellishes the spot where it it is placed.

31

FONTAINE DES INNOCENS.

ON regarde avec raison la Fontaine des Innocens, comme un desplus beaux monu-
mens de cette espece qui existent en France. Elle fut erigee, en 1551, a 1' angle de la
Rue aux Fers, sur les dessins de Pierre Lescot et de Jean Goujon. Lorqu' on abattit
1' eglise des Innocens, on crut devoir mettre a la place qu' elle avait occupee une fon-
taine, et 1' on entreprit, sous la direction de M. M. Poyet, Molinos et Legrand, d' y
transporter la fontaine en question, et d' y ajouter une quatrifeme fagade devenue neces-
saire dans son isolement. La fontaine fut en consequence demontee, transported, et
reconstruite sans que la sculpture en re§ut la moindre atteinte. Les sculptures, qui
consistent de Dieux marins, de Tritons, et de Naiades sont de Jean Goujon, excepte
celles qui ont depuis et6 ajoutees par M. Pajon. . On admire 1'harmonie qui existe
entre les differentes parties de ce monument et 1* on reconnait partont le gout exquis de
1' architecte du Louvre. Les traits caract^risques des ouvrages de Jean Goujon sont
P elegance des formes, la simplicite du contour, la grace du mouvement, et le natural
avec le quel les figures sont drapees.

La hauteur totale de la fontaine est de quarante deux pieds ; les eaux fournies pars
le Canal de P Ourcq jaillissent jusqu' k la voute de la coupole, et retombent en bouillon-
nant dans une conque ; de la, elles descendent sur une plateforme dont elles s' echap-
pent en nappes argentees, pour remplir quatre conques, d'ou elles debordent en une pluie
6paisse pour remplir le vaste bassin carr6 construit au bas de ce monument, oil quatre
lions lancent encore de leurs gueules un torrent d'eau. On lit sur une tablette de
marbre noire, cette inscription: FONTIUM NIMPHIS. On y a grave aussi ces vers de
Santeuil :

Quos duro cernis simulates marmore fluctus,
Hujus Nympha loci credidit esse suos.

FONTAINE GAILLON.

LA Rue de Gaillon, ainsi nommee d' un Hotel de ce nom qui se trourait au coin
de la rue, s' etendait autrefois d' un cote jusqu' a la rue St. Honore, et se prolongeait
de P autre entre les emplacemens de P Hotel de Richelieu et celui de la Valliere, jusqu'
a une des portes de la ville, qui avait rec_u d' elle le nom de Porte Gaillon. Louis XIV.
ayant ordonn^, en 1645, que toutes les places vides, entre les portes Saint Denis et Saint
Honore, fussent vendues, et couvertes d' edifices, la partie de celle-ci qui depassait la
rue Neuve-Saint-Augustin fut supprimee, et la porte abattue en 1700.

C' est pres de la Rue de Gaillon qu' on vient de placer la petite fontaine qui lui doit
son nom, et qui est representee dans notre gravure. L' architecte est M. Visconti, qui
jouit a Paris d' une haute reputation ; et cete fontaine contribue beaucoup a P embellis-
sement du quartier ou elle est placee.

32

'=,

.

COLUMN ON THE PLACE VENDOME.

THE Place de Vendbme owes its name to the old Hotel de Vend6me, which stood on
the spot where this fine square was built by the city of Paris in 1699, from designs by
Jules Hardouin Mansard. In the middle of this square stood, till the year 1792, on a
pedestal of white marble, an equestrian statue of Louis XIV. In the place of this mo-
nument was begun in 1806, and concluded in 1810, the construction of a column intended
to commemorate the victories of the French army in Germany. This column is perhaps
one of the most remarkable monuments in Paris. Its height is 132 (French) feet, and
its diameter 12. It is in imitation of the pillar of Trajan at Rome, and is built
of stone, covered with bas-reliefs, in bronze, from twelve hundred pieces of cannon,
taken from the Russian and Austrian armies. The bronze employed in this monument
was about three hundred and sixty thousand pounds weight. The column is of the Doric
order. The bas-reliefs of the pedestal represent the uniforms and weapons of the con-
quered legions. Above the pedestal are festoons of oak, supported at the four angles by
eagles, in bronze, each weighing five hundred pounds. The bas-reliefs of the shall
pursue a spiral direction from the base to the capital, and display, in chronological order,
the principal actions of the campaign, from the departure of the troops from Boulogne
to the battle of Austerlitz. The figures are three feet eight inches high ; their number
is said to be two thousand, and the length of the spiral band eight hundred and forty
feet. Above the capital is a gallery, which is reached by a winding stair-case, within the
column, of one hundred and seventy-six steps. Over the door leading to the stair-case
is a bas-relief, representing two figures of Fame, supporting a tablet, upon which is the
following inscription, no longer visible, it having been, on the restoration of the Bourbons,
covered with a bronze plate : —

NEAPOLIO. IMF. AUG.
MONUMENTUM BELLI GERMANIC],

ANNO M.DCCCV.
TRIMESTRI. SPATIA. DUCTU. suo PROFLIGATI,

Ex. JERE. CAPTO.
GLORIJE. EXERCITUS. MAXIMI. DICAVIT.

The capital of the column is surmounted by an acroterium, upon which formerly
stood the statue of Napoleon, measuring eleven feet in height, and weighing five thousand
one hundred and twelve pounds. It was taken down in 1814, and a white flag now
waves where it formerly stood. From the platform, which is of white marble, and sur-
rounded with palisades, may be enjoyed an excellent view of the French capital and its
many monuments.

PAVILLON DE FLORE.

This Pavilion forms one of the angles of the gallery which reaches from the Louvre
to the Tuileries, and was commenced by the advice of Catherine de Medicis, under the
reign of Charles IX., who laid the first stone.

The Pavilion de Flore, as may be seen by the annexed engraving, stands opposite
the Pont Royal, which communicates from the Quais of the Louvre and of the Tuileries
to those of Orsay and of Voltaire. Having been carried away by masses of ice, in 1684, it
was rebuilt in 1685, and at his own expense, by order of Louis XIV. The designs were
furnished by Mansart and Gabriel, and the execution was entrusted to Francois Remain,
a Dominican friar.

It was upon this bridge, on the side of the Rue du Bac, that a piece of cannon was
placed, on the 10th of August, 1792, to fire upon the palace. The mark of a cannon-ball
was still visible a few years ago between two of the windows of the Pavilion de More.
33 K

COLONNE DE LA PLACE VENDOME.

CKTTK place doit son nom a 1' ancien Hotel de Vendome, qui se trouvait a 1' endroit
ou la Ville de Paris fit batir, en 1699, cette belle place, d' apros les dessins de Jules Har-
douin Mansard. Au milieu de cette place se voyait, jus qu' en 1792, une statue equestre
de Louis XIV. sur un piedestal de marbre blanc. A la place de cette statue on eleva une
colonne en commemoration des victoires de 1' armee Franeaise en Allemagne, et qui, com-
mencee en 1806, fut terminee en 1810. Cette colonne est peut-etre 1'un des plus remar-
quables monumens de Paris. Elle a 132 pieds de hauteur, et son diametre est de 12 pieds.
A 1' imitation de la fameuse colonne de Trajan, a Rome, elle est de pierre couverte de bas-
reliefs en bronze, provenant de douze-cents pieces de cannon prises sur les armees Russes
et Autrichiennes. Le bronze qui a servi a la construction de cette colonne pesait environ
trois cent soixante mille livres. La colonne est de 1' ordre Dorique. Les bas-reliefs du
piedestal representent les uniformes et les armes des legions conquises. Audessus du
pie'destal sont des festons de chene, supportes par quatre aigles, en bronze, dont chacun
pese cinq cent livres. Les bas-reliefs de la colonne, qui la contournent depuis sa base
jusqu' a son chapiteau, representent en ordre chronologique, les principales actions de la
campagne, depuis le depart des troupes, du camp de Boulogne, jusqu' ii la bataille
d' Austerlitz. Les figures qui ont trois pieds huit pouces de hauteur, se montent a prfes
de deux milles, et la bande de bronze sur la quelle elles se trouvent a huit cent quarante
pieds de longueur. Au-dessus du chapiteau est une gallerie, a la quelle on arrive par un
escalier a vis, de 176 marches, et pratique dans 1' int^rieur de la colonne. Au-dessus de la
porte qui mene a cet escalier est un bas-relief, representant deux figures de la Renommee,
soutenant une tablette, sur la quelle est gravee 1* inscription suivante, qu'on a couverte,
lors du retour des Bourbons, d'une plaque de bronze : —

NEAPOLIO. IMP. AUG.
MONUMENTUM BELLI GERMANICI

ANNO M.D.CCCV.
TRIMESTRI. SPATIA. DUCTU. suo PROFLIGATI

EX. .2ERE. CAPTO
GLORIA, EXERCITUS, MAXIMI, DICAVIT.

Au-dessus du chapiteau s'eleve une forme circulaire, sur la quelle etait autrefois
placee la statue de Napoleon, qui avait onze pieds de hauteur, et pesait cinq mille, cent
douze livres. On descendit cette statue, en 1814, et un drapeau blanc est maintenant a
la place qu' elle occupait. De la plateforme, qui est de marbre blanc, et entouree de
palissades, on jouit d'ime tres belle vue de Paris et de ses monumens.

PAVILLON DE FLORE.

Or. Pavilion forme 1' un des angles de la galerie qui s' etend du Louvre aux
Tuileries, et qui, d' apres les conseils de Catherine de Medicis, fut commencee sous le
regne de Charles IX., qui en posa la premiere pierre.

I. • 1'iivillon de I- lore, ainsi qu' on le voit dans la gravure, se trouve vis a vis du
Pont Royal, qui communique des Quais du Louvre et des Tuileries, a ceux d' Orsay et de
Voltaire. Ayant etc emportc par des gla9ons, en 1684, il fut rebati en 1689, par Louis
X ' V:. 'l ; '"'s. ln'°Pres frais- Les dessins sont de Mansard ct Gabriel, et 1'execution en fut
confine a Francois Remain, moine Dominicain.

C' est sur ce pont, du cote de la Rue du Bac, qu'on pla$a une piece de canon, le
10 Aout, 1792, pour tirer sur le palais ; et 1' on voyait encore il y a quelques annees la
marque d' un boulet de canon entre deux des fenotres du Pavilion de Flore.

• . t

IL1

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J

I-

I

CHURCH OF ST. ETIENNE-DU-MONT.

THIS is a parish church, situated near the spot where the old church of St. Gene-
vieve formerly stood. It was once but a chapel belonging to this church, and was
then called Chapelle du Mont, but, if we may credit Guillaume le Breton, it assumed
the dignity of a church so early as 1221. As a church, however, it was a long time
dependent on the church St. Genevieve, through which alone it could be entered, and
it was not till 1517, when the church was nearly rebuilt, that it was allowed a separate
entrance. The first stone of the principal front, which offers a mixture of the Greek
and Saracen style of architecture, was laid by Marguerite de Valois, the first wife of
Henry IV., who was so ambitious of this honour that she paid for it the sum of 3000 livres.
This took place in 1610, as appeared by the following inscription, which, together with
the arms of Marguerite, was placed on the first stone of the portal : —

DEO FAVENTE, SANCTO STEPHANO DEPRECANTE, ET AUSPICIIS MARGARITA
REGINJE VALESIJE, ANNO DOMINI 1610, 2 AUGUSTI.

The architecture of this church has been much admired. It is built in the Saracen
style, and abounds with the delicate, light ornaments, which the architects of the six-
teenth century lavished upon all their works. The Jube, or gallery erected across the
middle of the church, is the object of universal admiration, from the singularity and
boldness of its construction, as well as on account of the two stair-cases which lead to
it, and which winding round two pillars, and being totally unsupported by any thing un-
derneath, seem, with their beautifully chiselled and opened steps, to hang in the air.

This church contains, besides several valuable paintings and sculptures, the ashes
of several celebrated Frenchmen, and among them those of the great poet Racine and
of Pascal, one of the most profound writers that France, or perhaps any country, ever
produced.

CHURCH OF ST. DENIS.

ACCORDING to an old tradition, the church of St. Denis was founded by St. Gene-
vieve, towards the end of the fifth century ; but what cannot be doubted is, that king
Dagobert rebuilt it, at the commencement of the seventeenth century, and was buried
in it in the year 1638. It was enlarged by Charlemange in 774; was repaired by the
Abbe Suger in 1140; and was rebuilt, as it now stands, under the reign of St. Louis,
in 1231.

As may be supposed, a church built at such different and distant periods is wanting
in uniformity of construction ; but, notwithstanding this defect, it is justly considered
one of the finest churches in France, and is by some esteemed second only to the church
of Notre-Dame.

When king John was made prisoner by the English, at the battle of Poictiers, the
monks of St. Denis, apprehensive that their church would be attacked, resolved to for-
tify it. This was done in 1358, and it is supposed that the battlements, which still
remain at the lower part of the two towers, date from this period.

No church in France was so rich in relics and ornaments as that of St. Denis,
and its wealth was so celebrated that few strangers came to Paris without visiting it.
But what, more than any thing else, rendered St. Denis an object of curiosity, and
admiration, was the magnificent collection of tombs and monuments which, during a series
of ages, had been erected within its walls to the memory of the kings and princes of France,
who have since Dagobert found a burial place in this ancient and venerable church.

On the 3 1st of July, 1793, it was decreed by the National Convention, at the proposal
of Barrere, that the tombs and monuments of the ci-devant kings of France should be de-
stroyed, and a commission was appointed to carry the measure into execution. Fortu-
nately, however, most of the monuments of St. Denis escaped destruction, although the
hands of the Vandals who then governed France did not respect their venerable con-
tents ; the tombs were opened, the bodies, torn from the dwelling they had occupied for
centuries, were thrown in trenches that had been dug for the purpose, and the grass now
grows over the common tomb of the monarchs who, for twelve centuries, sat on the
throne of France. In consequence of a senseless proposition that the church should also be
destroyed, it was unroofed in 1795, and remained for some time in that state. Under
the consulate, repairs were begun ; and during the reign of Napoleon the works were
carried on with so much spirit that the church of St. Denis has now resumed its former
beauty and splendour.
35

ST. ETIENNE-DU-MONT.

CETTE eglise paroissiale est situee pres de 1' endroit oi\ se trouvait 1' ancienne
eglise de Ste. Genevieve. Ce n'etait autrefois qu'une chapelle, attenant a cette
derniere eglise, et portant le nom de Chapelie-du-Mont ; mais si Ton en croit Guillaume
le Breton, elle portait deja, en 1221, le titre d' eglise.' Elle n'en dependait cependant pas
moins de 1' eglise Ste. Genevieve, et ce n'etait qu'en passant par cette derniere qu'on
pouvait y entrer. Mais 1'orsqu'on la rebattit, en 1517, on lui donna une entree particu-
liere. La premiere pierre de la facade, oii se trouve un melange des genre grec et sar-
rasin, fut posee par la premiere femme de Henri IV., Marguerite de Valois, qui pour
avoir cet honneur, donna la somme de trois mille livres. Cette ceremonie eut lieu en
1610, comme on le voit par 1' inscription suivante, qui fut placee, ainsi que les armes de
Marguerite, sur la premiere pierre du portail : —

DEO FAVENTE, SANCTO STEPHANO DEPRECANTE, ET AUSPICIIS MARGARITA
REGIUS VALESIJE, ANNO DOMINI 1610, 2 AUGUSTI.

On admire beaucoup 1' architecture de cette eglise, qui est dans le style Sarrasin
qui s'y montre avec tous les raffinemens, toutes les gentillesses et les formes dedicates et
elegantes que les architectes du seizieme siecle donnaient a leurs constructions. On
admire aussi la coupe extraordinaire de son Jube, et on s'etonne de la construction de
ses deux escaliers a jour, qui tournent autour de deux colonnes, et dont les marches.

Cette eglise, outre des sculptures et des tableux tres estimes, contient les restes de
quelques grands hommes, et entre autres les cendres du grand poete, Racine, et de Blaise
Pascal, 1'un des plus profonds ecrivains qu" ait jamais produit la France, et peut-etve 1*
Europe entiere.

EGLISE DE ST. DENIS.

CETTE eglise fut, selon une ancienne tradition, fondee par Ste. Genevieve, vers la fin
du quinzieme siecle; mais ce dont on ne peut douter, c'est que le roi Dagobert la fit re-
batir ay commencement du seizieme siecle, et y fut enterre en 1638. Elle fut aggrandie
par Charlemagne en 774 ; restauree par 1' abbe Suger en 1140 ; et fut rebatie, telle qu'on
la voit maintenant, sous le regne de St. Louis, en 1231.

On con9oit aisement combien une eglise batie a des epoques si eloignees 1' une de
1' autre, doit manquer de regularity dans sa construction, mais malgre ce defaut on re-
garde avec raison 1' eglise St. Denis comme 1' une des plus belles de France, et bien des
personnes n'hesitent pas a lui donner le second rang, apres celle de Notre-Dame.

Lorsque le roi Jean fut fait prisonnier a la bataille de Poitiers, les moines de St.
Denis, craignant que leur eglise ne fut attaquee, resblurent de la fortifier, ce qu'ils firent
en 1358, et on croit que les creneaux qui existent encore au bas des deux tours, datent
de cette epoque.

II n'est aucune eglise en France dont les reliques et les ornemens puissent se com-
parer a ceux de St. Denis, et telle etait sa reputation a cet egard que les etrangers qui
venaient a Paris, manquaient rarement d'en aller admirer la richesse. Mais ce qui valut
surtout a cette eglise sa grande reputation, c'est 1' immense et magnifique collection de
tombeaux que depuis des siecles on y a eleves a la memoire des rois et des princes de
France, qui depuis Dagobert ont etc enterres dans cette ancienne et venerable eglise.

Le 31 de Juillet, 1793, il futdecrete par la Convention Nationale, d'apres une propo-
sition faite par Barrere, qu'on detruirait les tombeaux et les monumens des ci-devant
rois de France ; et une commission speciale fut chargee d'executer cet arret. Heureuse-
inent la plupart des monumens que contient 1' eglise St. Denis, echapperent a la
destruction, mais la main des Vandales qui gouvernaient alors la France ne respecta pas
les cendres que contenaient ces monumens ; les tombeaux furent ouverts, les depouilles
mortelles, arrachees des lieux qu'ils avaient habite pendant des siecles, furent jetees dans
des fosses preparees pour cet effet, et 1' herbe croit maintenant sur la demeure commune
qu'habitent les restes des rois qui pendant douze siecles regnerent sur la France ! En
consequence de 1' imbecile proposition qui fut aussi faite de raser de fond en comble
1' eglise de Saint Denis, on en demolit le toit en 1795, et elle resta pendant quelque
temps en cet etat. On commen§a sous le consulat a y faire des reparations, et les travaux
furent poursuivis sous le regne de Napoleon, avec tant d'activite, que 1' eglise St. Denis
a maintenant toute sa beaute et son ancienne splendeur.
3G

fin

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•

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W
P

CHURCH OF MONTMARTRE.

SEVERAL etymologies have been given as the source from which the celebrated
hill of Montmartre, near Paris, derived its name. Some have called it Mons martyrum,
because it was there, it is said, that St. Denis and his companions received the crown of
martyrdom ; but it is most probable that Montmartre owes its name to a temple of
Mars which was formerly erected on it, and we find that in a poem written by a monk,
in 896, on the siege of Paris, it is called Mons Martis, It is probable also that Mont-
martre was, as well as other high places near Paris, used by the ancients as a place of
worship. Montmartre has long been celebrated for the immense quantity of plaster which
its quarries have furnished, as well as for the fossils it contains. In these quarries, shells
and other marine productions have frequently been found, and on one occasion the trunk
of a large palm-tree, petrified, was dug up from a considerable depth beneath the surface
of the ground. In 1737 and 1738 searches were made, when on the declivity of the hill, to
the north, were found the remains of an ancient building, as well as several antiquities,
from which it is supposed that there existed formerly, at the foot of this mountain,
country houses belonging to the Romans, or some ancient buildings, the origin and
use of which can no longer be ascertained. It was near Montmartre that Charles-le-
Gros concluded a treaty of peace with the Normans, who besieged Paris in 886. At
the foot of this hill, and on the south-west side, in a narrow and solitary valley, is
situated what was formerly called Le Champ de Repos, a name which has since been
changed for the less romantic one of Cimetiere Montmartre.

Towards the end of the seventh, or at the commencement of the next century, a
church existed on this hill, which was dedicated to St. Denis, and a small chapel,
adiatla, parva ecclesia, in which were kept the relics of several other martyrs whose
names have not reached us. In 1096 these two buildings were given, together with
some lands "attached to them, to the monks of Saint-Martin-des-Champs, who gave
them, in 1133, to the king Louis-le-Gros, in exchange for Saint-Denis-de-la-Chartre :
this prince and his wife, Alix de Savoie, founded there the Abbaye of the Benedic-
tines. The convent then occupied the place where the chapel had stood ; but the nuns
who since caused a proper building to be erected for their use, with a church attached to
it, having no further occasion for the old edifice, gave it to the parish, to whose use it
has since been appropriated. On an old tower, belonging to this edifice, a telegraph has
been placed corresponding with that of Calais. From Montmartre may be enjoyed a
most extensive and varied prospect, including the whole city of Paris.

THEATRE DES NOUVEAUTES.

THIS pretty little theatre was erected four years ago, by M. Debray, exactly opposite
the Exchange. There is nothing particularly deserving of notice in its construction, ex-
cept that, as it was impossible to stop the public thoroughfare which had hitherto existed
on the spot, both the pit and the stage were raised very high, in order that a free passage
might be allowed under them for the public. This is one of the minor theatres, where
are performed those little light pieces, two or three of which generally go to the com-
position of an English farce.
37

EGLISE DE MONTMARTRE.

IL serait difficile d'assigner la veritable etymologic du nom de Montmartre, pres de
Paris. Plusieurs ecrivains lui ont donne celui de Mons martyrum, parce que c'est la
disent-ils, que St. Denis et ses compagnons re$urent la couronne du martyr. Le plus
probable est que Montmartre doit son nom a un temple de Mars, eleve autrefois sur cette
montagne, et le nom de Mows Mortis lui est donne par un moine qui ecrivit, en 896, un
poeme sur le siege de Paris. II est aussi a croire que les anciens firent de Montmartre
ainsi que de plusieurs autres lieux eleves aux environs de Paris, un lieu de culte. Mont-
martre est depuis longtemps celebre par ses immenses carrieres de platre, ainsi que par
ses monumens fossiles. On a souvent trouve dans ces carrieres des coquilles et d'autres
productions marines, et Ton en retira un jour le tronc d'un palmier petrine, d'une gran-
deur considerable, et que 1' on trouva enfoui a une grande profondeur au dessous de la
surface. On fit des fouilles, en 1737 et 1738, et on trouva au nord, sur le penchant de
cette montagne, les ruines d'un ancien batiment, ainsi que plusieurs antiquites, qui don-
neut lieu de croire qu'il existait autrefois, au pied de cette montagne, des jnaisons de
campagne appartenant aux Romains, ou d'autres batimens dont 1' origine et 1' usage
nous sont inconnus. C'est au bas de Montmartre que Charles-le-Gros conclut un traite
de paix avec les Normans, qui assiegerent Paris en 886. Au pied et au sud-ouest de la
montagne, dans une vallee etroite et solitaire, se trouve 1' un des quatre cimetieres de
Paris que 1' on appelait autrefois le Champ du repos, et au quel ou a depuis donne le nom
moins sentimental de cimetiere Montmartre.

Vers la fin du septieme, ou au commencement du huitieme siecle, il existait sur cette
montagne une eglise dediee a St. Denis, et une petite chapelle, adicula, parva ecclesia, ou
1' on conservait les reliques de plusieurs autres martyrs dont les noms ne sont pas par-
venus jusqu a nous. En 1096 ces deux eglises furent donnees, avec quelques terres qui
en dependaient, aux moines de Saint-Martin-des-Champs. Ces derniers les cederent, en
1133, au roi Louis-le-Gros, en 6cbange de Saint-Denis-de-la-Chartre ; et ce prince et Alix
de Savoie, sa femme, y fonderent 1' abbaye des Benedictines. Le couvent occupait alors
la place de la chapelle, mais les religieuses ayant fait batir a leur usage un lieu convenable
et une eglise, elles laisserent 1' ancienne pour le service de la paroisse. Sur une vieille
tour de cet edifice, on a etabli un telegraphe de la ligne de Calais. On y jouit de tons
cotes de la vue la plus etendue et la plus variee, qui embrasse 1' immensite de la ville de
Paris.

THEATRE DES NOUVEAUTES.

CE joli petit theatre a et^ bati il y a quatre ans, vis-a-vis de la Bourse, par M. De-
bray. Sa construction n'offre rien de remarquable si ce n'est que pour conserver un
passage public qui avait existe jusqu' alors, on fut oblige de placer le theatre et le parterre
a une hauteur tres elevee. Le Theatre des Nouveautes est un des petits theatres de Paris
ou sont produites ces petites pieces, dont deux ou trois fondues ensemble, contribuent a la
confection d'une piece produite sur le theatre anglais.
38

I

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na dwrt 1' 01

-
imetiire;.

GENERAL POST OFFICE.

THIS building, situated in the Rue J. J. Rousseau, after undergoing several altera-
tions, was finally built, as it now stands, by the order of Fleurian d' Armenouville. It
was appropriated to its present use in 1757.

The idea of establishing a Post Office in France was first conceived by the University
of Paris, and executed in 1464 by Louis XL, who first enacted regulations on the subject.
Two hundred and thirty couriers were then employed, and carried the despatches of the
Court. To defray the expenses of this establishment, Louis laid a task upon the
people of three millions of livres. The University. continued to receive the revenue of
the Post Office till the year 1719, when the Messageries royales were established. .As an
indemnification for this loss, the University received the twenty-eighth part of the general
produce of the establishment, which then amounted to 120,000 livres. The Post Office,
which from its origin was exclusively employed by government, became in 1630 a
public institution, and has since continued to prove extremely useful to the community,
as well as productive to government. The annual average product of the Post Office
is 4,235,754 francs, 33 centimes. The greatest receipt takes place in January ; it then
amounts to 15,000 francs per day, or 450,000 francs per month. The smallest receipt
which takes place in September, amounts to 11,000 francs per day, or 330,000 francs per
month.

PALAIS-ROYAL, STREET-FRONT.

THIS edifice, which was erected by the celebrated Cardinal Richelieu, was at first
by no means so beautiful and elegant as it now is. The residence of the cardinal,
first called by the modest name of the Hotel de Richelieu, occupied then but a compa-
ratively small space, but its size increased with the fortune and power of its owner. It was
begun in 1629, after the drawings of J. Mercier, and finished in 1636. This palace
was adorned with all that taste and luxury could invent ; boudoirs, a chapel, ball-rooms,
galleries, and theatres, nothing was omitted that could gratify the ambition of the car-
dinal, who having made it a residence worthy of kings, gave it, in 1639, to Louis XIII.,
and confirmed the gift by will in 1642, reserving the enjoyment of it for life to himself.
The cardinal dying in December 1642, and Louis XIII. in May 1643, the king, the
queen-regent, and the royal family, took up their residence here in the October following,
and changed its name to that of Palais-Royal. It was also used as a residence by
Louis XIV. during the first years of his minority. This monarch afterwards gave it
to his only brother, Philip, first Duke of Orleans. The theatre, which had been built by
order of Cardinal Richelieu, and on which the company of Moliere and that of the
Italians performed, having been burnt down in 1753, Louis Philip, Duke of Orleans,
had it rebuilt. This having been also destroyed by fire, in 1781, a larger and more
handsome one was erected, after designs by the celebrated architect Louis.

The front, in the Rue St. Honor6, represented in the annexed engraving, was built
in 1781. It presents two pavilions, adorned with columns of the Doric and Ionic order,
surmounted by pediments. The two wings of the buildings of the first court have
pillars of the same orders of architecture.
39

GRAND BUREAU DE LA POSTE.

CE biitiment, situe dans la rue J. J. Rousseau, apres avoir subi plusieurs changemens,
fut bati ainsi qu' on le voit maintenant, par ordre de Fieurian d' Armenouville, et appro-
prie au service des postes, en 1757.

L' Universite de Paris conc,ut d' abord 1' idee d' ^tablir un bureau de poste en
France; cette idee fut, en 1464, executee par Louis XI. qui fit les premiers re-
glemens a cet egard. Deux cent trente couriers etaient alors employes a porter les
depeches de la cour ; et pour subvenir aux frais de cet etablissement Louis chargea ses
sujets de trois millions d' imposition.

L' Universite a constamment joui du droit des postes et des messageries, jusqu' en
1' annee 1719, epoque ou fut etablie 1' administration des messageries royales; et pour
1' indemniser de cette perte, on« lui accorda le vingt-huitieme du bail general des postes,
qui alors se montait a 120,000 livres. La poste qui depuis son origine n' avait servi
qu' au gouvernement, commen§a en 1' an 1630, a servir aux particuliers, et a etc
depuis de la plus grande utilite a la communaute ainsi qu' avantageuse au gouverne-
ment. Le produit annuel des bureaux de la poste se inonte a 4,235,754 francs, 33
centimes. La plus forte recette, qui a lieu au mois de Janvier, se monte a 15,000 francs
par jour, ou 450,000 francs par mois ; et la moindre recette, au mois de Septembre, se
monte a 11,000 par jour, ou 330,000 francs par mois.

PALAIS-ROYAL, DU COTE DE LA RUE.

GET edifice, que fit batir le celebre cardinal de Richelieu, etait loin d' avoir lors
de sa construction toute la beaute et 1' elegance qu' on lui voit mainteiiant. La de-
meure du cardinal, a la quelle on avait alors donne le modeste nom d' Hotel de Richelieu,
n'occupait qu' un petit espace, mais elle s'agrandit avec la fortune et le pouvoir de
son possesseur. Commencee en 1629, d' apr^s les dessins de J. Mercier, elle fut ter-
minee en 1636. Ce palais fut orne de tout ce que le gout et le luxe pouvaient inventer.
Boudoirs, chapelle, salles be bal, galleries et theatres, rien ne fut oublie de ce qui
pouvait satisfaire 1' ambition du cardinal qui, en ayant fait une demeure digne des rois,
1' oflfrit, en 1639, a Louis XIII., et en confirma le don par son testament en 1642, s'en
reservant cependant la jouissance pendant sa vie. Le cardinal etant mort au mois de
Decembre 1642, et Louis XIII. au mois de Mai 1643, le roi, la reine, et la famille royale
en firent leur demeure au mois d' Octobre de la meme annee, et lui donnerent le nom
de Palais-Royal. Louis XIV. y demeura aussi pendant les premieres annees de
sa minorite, et le donna ensuite a son frere unique, Philipe, premier due d' Orleans.
Le Theatre que le due de Richelieu y avait fait batir, et sur le quel avait joue la troupe
de Moliere et les Italiens, ayant ete detruit par un incendie, en 1753, Louis Philipe, due
d' Orleans le fit rebatir : ayant ete brulee de nouveau, en 1781, on en batit un plus beau
et plus grand, d'apres les desseins du celebre architecte Louis.

La fa$ade du cote de la Rue St. Honore, representee sur la gravure, fut batie en
1781. Elle offre deux pavilions, ornes de colonnes doriques et ioniques, couronnes de
frontons. Les deux ailes des batimens de la premiere cour sont decorees de pilastres des
memes ordres d' architecture.
40

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PALACE OF VERSAILLES, GARDEN FRONT.

Louis XIV., who at first used the Chateau of Versailles as a rendez-vous de
chasse, conceived afterwards the idea of making it his residence during the fine season.
This rendered it necessary to enlarge the building, and the task was given to Leveau.
The monarch was determined not to destroy what his father had done, and therefore
Mansard, who at a later period had orders to make new additions to what had then be-
come a palace, was forced to include, in the range of buildings he erected, what Bas-
sompiere called the paltry palace of Versailles. This palace was finished in 1692, and the
monarch, by making it the residence of his brilliant court, drew after him all the nobility,
so that every person of note wished to possess a residence of some sort in its neighbourhood.
Louis XIV., however, while he encouraged the building of new houses in and near Ver-
sailles, strictly forbad the use of stone in these new buildings, as he wished it to be
employed in erecting the palace alone ; and so far did he carry this whim, that it was
ordered that all the houses which were not built with bricks should be painted, in order
to appear as if they were so constructed.

Versailles, which Louis XIV. seldom left during the remainder of his life, was un-
inhabited during the seven years that the minority of Louis XV. lasted, and the town
lost much of its importance, until the court returned to it in 1722. During the seventy-
seven years that elapsed, till the unhappy Louis XVI. was forced to quit his palace, Ver-
sailles continued to increase both in beauty and population, the latter of which amounted
then to nearly a thousand souls. With the Revolution, however, a great change took
place ; and, when the court left it, Versailles lost all its gaiety and splendour. The palace,
stript of its most valuable ornaments, was exposed to every species of degradation, and
an idea was even entertained of destroying it altogether. Fortunately, however, this was
not done. Buonaparte, who turned his attention to every species of public utility, did
not forget the palace of Versailles, and great improvements have resulted from his labours,
as well as from those which were resumed in 1814.

These historical details, long, with regard to the space allotted us, but brief, if we
consider the importance of the subject, will not allow us to say much of the Facade, re-
presented in the accompanying engraving. If, however, we consider its immense extent,
the perfect unity of all its parts, the richness and magnificence of the different statues
and orders of architecture that adorn it, as well as the beauty and solidity of its con-
struction, we may pronounce it to be an edifice almost unrivalled, and one which does
equal honour to the taste of Louis XIV. that conceived, and the genius of Mansard that
executed it. ^_^-

THE COUR ROYALE.

THE Cour Rot/ale was formerly entered through a fine grate, which was destroyed
during the Revolution. Of the two new buildings that are attached to this court, the
one on the right was commenced in 1772, from designs by Gabriel (Jacques-Ange), and
was only completed a few years ago, when the other was begun. These two buildings
replace those by Leveau, and are the commencement of intended improvements, the
purpose of which is to make the outward decorations of the palace better suited to the
beauty of the interior. At the bottom of the Cour Royale is what, from its marble pave-
ment, has obtained the name of the Cour de Marbre. This pavement is the highest of
the palace, and is 466 feet above the level of the sea, and 395 higher than the waters of
the Seine are at Sevres.

41 M

CHATEAU DE VERSAILLES, FACADE SUR LE JARDIN.

Louis XIV., qui n'avait d' abord fait du Chateau de Versailles qu' un rendez-vous
de chasse, con§ut ensuite 1' idee de 1' habiter pendant la belle saison. II devint par
consequent necessaire d' agrandir ce batiment, et 1' on en confia le soin a Leveau. Le
monarque etant decide a ne pas detruire ce que son pere avait fait, il fullut que Man-
sard, qu' on chargea des nouveaux agrandissemens de ce Chateau, encadrat en quelque
sorte dans les batimes qu' il construisit, ce que Bassompiere appelait le chetif chateau
de Versailles. Le chateau fut termine en 1692, et le monarque en enfaisant le sejour de
sa brillante cour, y attira toute la noblesse, et chacun desira d' avoir a Versailles un
hotel, ou au moins un pied a terre. Mais Louis XIV. tout en y encourageant les con-
structions, ainsi que dans ses environs, defendit qu' on se servit, dans la batisse des
maisons, de pierre de taille, qui ne devait etre employee qu' a la construction du palais,
et il poussa si loin sa volonte a cet egard, qu' il ordonna qu' on peignit toutes les
maisons qui n' etaient pas baties en brique, afin qu' elles parussent 1' etre.

Versailles, que Louis XIV. quitta rarement le reste de ses jours, fut inhabite pen-
dant les sept annees que dura la minorite de Louis XV. et la ville avait deja beaucoup
perdu de son importance, lorsque la cour revint s' y etablir, en 1722. Pendant les
soixante-sept ans qui s' ecoulerent jusqu' a ce qu'ou arracha le malhemreux Louis XVI.
de son palais, Versailles continua de s' embellir, et sa population s' augmentant en
meme temps, elle se monta bientot a pros de cent mille ames. Tout changea cependant
de face avec la Revolution ; et lorsque la cour le quitta, Versailles perdit toute sa splen-
deur. Le palais, apres avoir etc depouille de la plupart des ses principaux ornemens,
fut exposfe a tous les genres de degradation, et on songea meme a le detruire. Henreu-
sement qu' il n'en fut rien, et Buonaparte qui s' occupa de tous les objets d' utilite pu-
blique n' oublia pas le palais de Versailles ; et les travaux qu' il y fit faire, ainsi que ceux
recommences en 1814, ont eu des resultats tres avantageux.

La longueur de ces details historiques, que 1' importance du sujet rendait neces-
saire, ne nous permettent de dire que quelques mots, au sujet de la Fa fade sur le Jardin,
que represente notre gravure. Mais si 1' on considere son immense e'tendue, 1' en-
semble parfait de toutes ses parties, la magnificence et la richesse des ordres d' archi-
tecture et des nombreuses statues qui la decorent, ainsi que la beaute et la solidite de
sa construction, on peut avec raison la regarder comme 1' un des plus beaux edifices qui
existent, et comme faisant e"galement honneur au gout de Louis XIV., qui en conceit
1' idee, et au genie de Mansard qui 1' executa.

LA COUR ROYALE.

CETTE cour etait autrefois fermee par une belle grille, qui fut detruite pendant
la Revolution. Des deux batimens qui 1' accompagnent, celui sur la droite, commence
en 1772, sur les dessins de Gabriel (Jacques Ange), n'a etc termine que depuis quelques
annees, et a 1' epoque ou fut commence celui a gauche. Ces deux batimens remplacent
ceux construits par Leveau, et sont le commencement d' un projet de restauration qui
tend a concilier sa decoration exterieure avec la beaute de son interieur. Au bas de la
Cour Royale, on trouve la cour de marbre, qui doit son nom a son pave en marbre.
C'est la partie la plus elevee du chateau, et son niveau est a quatre cent soixante-six
pieds au-dessus de celui de la mer, et de trois cent quatre-vingt-quinze plus haut que
les eaux de la Seine a Sevres.
42

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Kn,

A . Fvfnxi direx *

PALAIS BE "VER3A13ULE3, FACADE DU
Loridcn K Jtnrdnys, Ibuitry. Ma.}'!. l^-LJ

PAJ^JLS X»E VERSAHXJES, COUR ROYA1LE.

L'Jfi-don. I1_J triflings. Poultry. May i IrfXff.

CHAPELLE EXPIATOIRE.

THIS chapel, the entrance to which is represented in the annexed plate, is situated
in the Faubourg St. Honore, near the Rue d' Anjou. It was erected a few years ago
for the purpose of depositing it in what remains could be collected of the unhappy Louis
XVI. It is of a circular form, and the character of its architecture is well suited to the
purpose for which it is intended.

The entrance from the cemetery consists of a portico, composed of four columns of
the Roman Doric order, surmounted by a pediment, above which is an attic, and the
whole is crowned by a center-dome. The door is reached by a flight of steps, from the
level of the cemetery, and on each side are seen the semi-circular projections of the
chapel, as well as the arches of the two galleries, which together contribute to give
the whole a gloomy and sepulchral appearance. The catacombs, placed under the
chapel, may be entered by the galleries, which are constructed on a lower level.

In the interior, and opposite the door, is erected an altar. On each side are placed
the busts of Louis XVI. and of Marie- Antoinette, on pedestals bearing also the Wills
of these two illustrious victims, inscribed on a bas-relief, in bronze. Means have been
used to introduce a sombre light in the interior, and the whole of the building, which is
at once chaste and appropriate, does credit to the taste and talent of M. M. Percier and
Fontaine, from whose designs, and under whose directions, it has been erected.

PONT AU CHANGE.

As it has been observed in a former account, the Pont au Change, after meeting
with many accidents, and being more than once entirely destroyed, was completed in
1788, by order of Louis XVI., who raised a loan of thirty millions for the purpose of
purchasing and pulling down the houses which then stood on it.

One fact connected with the Pont au Change merits to be recorded. At an early
period of French history, stalls were during the carnival erected upon this bridge, for the
purpose of gambling, and around which crowds of amateurs assembled to play at dice.
This old custom was abolished in 1604. L' Estoile relates ( Journal de Henri IV. torn,
iii. p. 172), that the inhabitants of the bridge, being asked why the games had been
suspended, replied, " they wished henceforward to be wise and frugal, since their king
was the first to give them the example."

43

CHAPELLE EXPIATOIRE.

CETTE chapelle est situee dans le faubourg St. Honore, pres de la rue d'Anjou.
Elle fut batie, il y a quelques annees, afin d'y deposer les ossemens du malheureux
Louis XVI. La forme en est circulaire, et le caractere de son architecture annonce bien
1' objet pour le quel elle a 6te construite. L' entree du cote du cimmetiere consisted'un
porche, compose de quatre colonnes de 1' ordre Dorique remain, surmonte d'un fronton,
au-dessus du quel est un attique ; et le tout est couronne d'un dome central. On
arrive a la porte par des marches qui partent du niveau du cimmetiere, et de chaque
cote on voit les projections demi-circulaires de la chapelle, ainsi que les voutes des deux
galeries, qui contribuent beaucoup a donner a cet edifice un air sombre et funebre. On
arrive aux catacombes, placees sons la chapelle, au moyen des galleries qu'on a con-
struites sur un plan plus bas.

Dans 1' interieur, et vis-a-vis de la porte, on a eleve un autel, aux cotes du quel
sont places les bustes de Louis XVI. et de Marie-Antoinette, chacun sur un piedestal,
qui porte aussi sur un bas-relief en bronze, le testament de ces deux illustres victimes.
On a introduit un excellent effet de lumi^re dans 1' interieur de cet edifice qui, tout a la
fois chaste et convenable, fait honneur au gout et aux talens de M. M. Percier et Fon-
taine, sous la direction et d'apres les dessins des quels il a etc bati.

LE PONT AU CHANGE.

CE pont, comine on 1' a deja observe, apres avoir subi plusieurs accidens, et avoir
ete plus d'une fois detruit, fut rebati en 1647, et termine en 1788, par ordre de Louis
XVI., qui fit un edit d' emprunt de 30 millions, au moyen des quels il fit acheter et
abattre toutes les maisons qui se trouvaient sur ce pont.

Nous citerons ici un fait qui a rapport au Pont au Change, et qui ne doit pas etre
oublie. On dressaitautrefois, le jour du carnaval, et le long du Pont au Change, des etaux,
sur les quels les amateurs venaient jouer aux des. Cet ancien usage fut aboli en 1604.
L' Estoile dit (Journal de Henri IV. torn. iii. p. 172) que "ceux du dit pont etant inter-
roges sur cette suspension de jeux, repondirent qu'ils voulaient etre sages doresnavant et'
bons menagers, puisque le roi leur en montrait le premier 1' exemple."

44

UK MM'V

Larnt;(t,jt I'fftwsft J-f ute >: '.-' t.

e M.

H.Ferrey del

CHAPELLE EXPJATOTKE BE TLOUK

2. ondon. R.Jcnntnax Fo idtry, .• I/ ft>- / ' Jt '•£*'.

AT^J^JB chjl'A.*

PONT AU CHANGE .
(LOOKING WEST. TAKEN FRCJM THE WATER WORKS.)

larutun. HJwunas. fbultrv Muy .

HALLE AUX VINS.

THIS establishment is connected with the Quai St. Bernard. When, in 1808, the
old Halle aux Vins, erected in the reign of Louis XIV., was found insufficient for the
transaction of the business of the establishment, Napoleon decreed the construction of
a much more extensive hall on the site of the abbey of St. Victor.

After considerable opposition, from the wine merchants, the present magnificent
depot was commenced in 1811, from the designs of M. Gaucher. On the side of the
river is a line of wharfage about 1000 yards in length, defended by handsome iron
railing; the other three sides are enclosed by walls. Seven principal piles of buildings
(all of which are not completed) occupy the interior : some being appropriated to wines
and brandies on sale, and others intended for storehouses. The streets between the
various buildings are denominated after the different kinds of wine, as the Rue de la
Cote d'Or, extending the whole breadth of the market, the Rue de Champagne, Rue de
Bourgogne, 8cc. At the back of the whole is a noble terrace, and on the side next the
river six offices for the clerks who superintend the reception and departure of the wines.
The whole of the establishment is designed, when fully stored, to contain from 600,000 to
800,000 casks. Each cask pays a wharfage of a frank on being entered. The bureau
contains standards of all the different measures used in France.

ECURIES DU ROI.

THESE magnificent stables were commenced before the Revolution upon an ancient
nursery ground, belonging to the king, at the corner of the Rue Neuve-de-Berri, and
that of the Faubourg du Roule. His present majesty, Charles X., when Count d'Artois,
purchased this ground, and the stables for a long time bore his name. They are con-
structed after the designs of M. Bellanger, and have been but recently finished. They
occupy several acres of ground.

45

HALLE AUX VINS.

GET Edifice est joint au Quai St. Bernard. En 1808, en trouvant que la vieille
Halle aux Vins, batie sous le regne de Louis XIV., n'etoit pas assez grande pour transiger
les affaires de ce magnifique entrepot, Napoleon fit construire une halle bien plus grande
dans la situation de 1' abbe St. Victoire.

Apres bien des opposition, de la part des marchands de vins, en 1811 on commencja
a batir ce superbe batiment ou emplacement, dont nous parlons selon les plans de Mon-
sieur de Gaucher. Sur le bord de le riviere il-y-a environ 1000 verges de quayage
protegees par une belle balustrade en fer; les trois autres cotes sout renfermes de
murailles. Sept des principaux edifices (qu'on na pas encore fini) sont situes dans
1' interieur. On s'en sert de quelques uns pour les munir des vins et des eaux de vie
qui sont en vente, et des autres on en fait des magasins. Les rues entre les divers bati-
raens se nomment d' apres les differentes especes de vin ; par exemple, la Rue de la Cote:
d' Or (qui s'etend de toute la largueur de la halle), la rue de Champagne, de Bourgogne,
etc. A 1' arriere de la halle il-y-a une belle terrasse, et, au Cote le plus proche de la
riviere, se trouvent six bureaux pour les commis qui surveillent 1" entree et 1' expedition
des vins. On pretend que 1' edifice quand il est plein peut contenir de 600,000 a
800,000 tonneaux. Pour chaque tonneau qui entre on paye un franc de quayage. Ce
bureau ci contient le modele de toutes les mesures aux vins dont on se sert en France.

ECURIES DU ROI.

t

CES ecuries magnifiques furent commencees avant la Revolution sur les terrains de
1' ancienne pepiniere du Roi, au coin de la rue Neuve-de-Berri et de celle du Faubourg
du Roule. Lorsque S. M. Charles X., etait comte d' Artois, il acheta le terrain, et les
ecuries furent pendant long temps designees sous son titre elles sont construites d' apres
le plan de Monsieur Bellanger et vienncnt d' ctre terminees. Elles occupant plusieurs
mesures de terre.

46

HAXJLE 4WX VINS

• -•' bfraudc pour

t-n^a
,le Mon-

dans

•

briW \imtmt, 9 pncfc

• . • :.

500,000 *
•• on {xiye ua franc tie quayage.

HALLE AUX TINS

ECURIES DU RO1 i FAUBOURG BU HOUJLK.

CHATEAU ST. GERMAINE-EN-LAIE.

ST. Germaine en Laie is four leagues from Paris, on the edge of the. forest of Laie
(one of the largest and finest in France), on the road to Mantes.

Its greatest ornament is the Chateau originally built for the accommodation of the
kings of France when they were disposed to hunt in the neighbouring forest. Francis I.
caused the old castle to be demolished, and constructed a new one nearer the Seine, now
denominated the Old Castle, and entirely in ruins. Henry IV. built what is called the
New Palace, which Louis XIII. and XIV. embellished ; the latter adding the noble
towers which flank the angles. The terrace of St. Germaine is 7200 feet in length.

Here were bora Henry II., Charles IX. and Louis XIV.; and in this palace
James II., of England, found, after the Revolution of 1688, a truly royal asylum.
He died here in 1701. The views from the terrace of the course of the Seine, the vil-
lages and country seats bordering the metropolis, the rich and animated meadows, and
the distant hills, are most picturesque and delightful. On one of the hills in the dis-
tance may be distinguished the fine aqueduct of Marly.

ECOLE DE MEDECINE.

FROM the middle of the fifteenth century Paris has been celebrated as a school of
medicine. In 1618 the first amphitheatre for anatomical demonstrations was erected :
this was rebuilt 1744, and made use of to a recent period.

In the reign of Louis XV. the present noble edifice, called the Ecole de Medecine,
or the Ecole de Medecine et de Chirurgie, was commenced on the site of the ancient
college de Bourgogne, after designs by Gondouin. It was finished in the reign of the
unfortunate Louis XVI. : the first stone being laid in 1769, and the school opened the
31st of August, 1776. It comprises four buildings, surrounding a court of 66 feet in
depth and 96 broad. Towards the street, named, after this magnificent establishment,
the Rue de 1' Ecole de Medecine, the. facade presents a peristyle of four rows of co-
lossal Ionic pillars which support the attic, containing the library and the cabinet of
anatomy. The former comprises an ample collection of all works connected with the
healing art, and is opened to the public three times a week. Above the peristyle is a
bas-relief thirty-one feet in length, in which the Government is represented, accompanied
with Minerva and Generosity, offering the plan of the Surgical School to Hygeia the
goddess of health, attended by Vigilance and Prudence. The portico at the end of the
court consists of six Corinthian columns, surmounted by a pediment in which is a bas-
relief by Berruer, representing Theory and Practice. Five medallions display the por-
traits of Petit, Marechal, Petard, Lapeyronie, and Pare. The paintings of the interior
are from the pencil of Gibelin. The amphitheatre is computed to contain 1200 persons.
The theatre is at the bottom of the court. In the two wings are spacious halls for de-
monstrations, &.C.

By a royal ordinance, dated the 21st of November 1822, the faculty of medicine
was suppressed for some weeks, in consequence of a political disturbance occuring at
the lectures ; but early in the following year the king signed an ordinance for its re-
organization.
47

CHATEAU ST. GERMAINE EN LAIE.

ST. Germaine en Laie, distant de quatre lieues de Paris, sur le bord de la foret dc
Laie (une des plus grandes et des plus belles en France), sur la route de Mantes. Son
ornement principal est le chateau qui fut bad pour la residence des roisde France quand
ils etoient disposes a chasser dans la foret qui 1'avoisine.

Francois I. fit relever 1' ancien chateau et en fit construire un nouveau plus proche
de la Seine aujourd'hui designe sous le nom de Vieux Chateau et qui est entierement en
ruines. Henri IV. fit construire celui qui porte le nom de Nouveau Chateau que Louis
XIII. et Louis XIV. firent embellir. Louis XIV. y ajouta les grands pavilions qui
flanquent ses angles. La Terrasse de St. Germaine a 7200 pieds de longueur.

Henri II., Charles IX., et Louis XIV. y naquirent et dans ce palais Jacques II., roi
d' Angleterre, apres son abdication trouva un asile et y mourut, en 1701, Les vues de
la superbe terrasse du cours de la Seine, les villages, et les maissons de plaisance pres
de Paris, les champs bien cultives, et les collines dans le lointain sont vraiment pitto-
resques. On remarque sur 1' une des collines 1' aqueduc de Marly.

ECOLE DE MEDECIJVE.

Des le milieu du quinzieme siecle Paris a toujours et^ celebre comme une Ecole de
Medecine. En 1618 fut btxti le premier amphitheatre aux demonstrations anatomiques,
celui-ci fut rebati en 1744, et on s'en servit il n'y a que peu de temps. Sous le regne de
Louis XV. on commenc.a a batir le noble batimen actuel nomme 1' Ecole de Medecine
ou 1' Ecole de Medecine et de Chirurgie, a la meme place qu' etoit autrefois le College
de Bourgogne, suivant les plans de Gondouin. On le finit pendant le regne de 1' infor-
tune Louis XVI. La premiere pierre fut posee en 1769, et 1' ecole s'ouvrit le 31 Aout,
1776. II contient quatre batimens, qui environnent un cour de 60 pieds de profondeur
et 96 de largeur. Vers la rue nominee d' apres cet etablissement magnifique, la Rue de
1' Ecole de Medecine, la facade presente un peristyle de quatre rangs de tres liautes
colonnes a 1' lonique, qui soutiennent 1' attique, contenant la Bibliotheque et le Cabinet
d' anatomie. Le premier contient une collection ample de tous les ouvrages sur 1' art
de guerir, elle est ouverte au public trois fois, par semaine. Audessus du peristyle il
y-a un bas-relief long de 39 pieds, ou est represente le Gouvernement accompagne de
Minerve et la Generosite, offrant le modelle de 1' Ecole de Chirurgie a Hygeia deesse
de la Sante servie par la Vigilence et la Prudence. La portique au bout de la cour
consiste de six colonnes a la Corinthienne, surmountees d'un fronton ou il-y-a un bas-
relief par Berruer, representant la Theorie et la Pratique cinque medaillons montrent les
portraits de Petit, Marechal, Petard, Lapeyronie, et Pare. Les tableaux de 1' interieur
tout du pinceau de Gibelin. L' amphitheatre est suppose pouvoir contenir 1200 per-
sonnes. Le theatre est au fond de la cour. Dans les deux ailes il-y-a des halles spacieuses
pour les demonstrations, &c.

Par une ordonnance royale, datee 21 Nov. 1822, la faculte J'j la mcclecinc fut sup-
primee pendant quelques semaines a cause d'une dispute politique qui s'eleva pendant le
cours des lectures mais au commencement de 1' annce suivante, le roi signa une ordon-
nance pour sa reorganisation.
48

CHATEAU ST GERMAIN EH JLAIE.

ECO1E ]>-E MEDECIWE.

.. •

TOUR DE ST. JAQUES-LA-BOUCHERJE.

THIS fine Gothic tower is the only relic of the church of St. Jacques, often mentioned
in the history of France. It is first named in a bull of pope Calixtus II. dated 1119; it
was erected into a parish church by Francis I., and long had the privileges of sanctuary.
When, in 1357, the assassin of Baillet, treasurer of France, took refuge here, and the
Dauphin, then regent of the kingdom, caused him to be seized, tried, and executed ; the
bishop of Paris sent publicly to remove his body from the gibbet, and celebrated in
person the magnificent funeral of the culprit ! Louis XII. abolished this abused pri-
vilege : in the Revolution the body of the church was completely demolished ; and the
tower passing into the hands of private persons has been converted into a patent shot
manufactory.

It rivals, as a lofty object, the towers of Notre Dame, being from the street to the
balustrade 155 feet in height ; and having, thirty feet above the latter, a figure of St.
James, sculptured by one Rault, a ' tailleur d'images,' as the sculptors of the fifteenth
century were commonly called. It is square, and measures on each side 30 feet 9 inches.
The foundations of this tower appear, from the records of the church, to have been laid
in 1508, and the work finished in 1522; having cost 1350 livres.

ECURIES DU ROI, RUE ST. THOMAS DU LOUVRE.

THESE were formerly the stables of the Due d' Orleans ; but, in the various
changes of the Revolution and Restoration, they have reverted to the possession of the
crown. At the bottom of the picture is seen a part of the Palais Royal. The horses in
the fore-ground are coming up to a second grand entrance, which is but partly shown,
and over which appears the inscription, ECURIES DU ROI.

49

TOUR DE ST. JAQUES-LA-BOUCHER1E.

CETTK belle tour Gothique est le seul relique d' une eglise qui porte ce nom, et
dont on fait sauvent mention dans 1' histoire de France.

Cette eglise nominee pour la premiere fois en 1' annee 1119, dans une bulle de
Calixte II.; elle fut erigee en eglise paroissiale par Francois I., et pendant long temps
elle jouit du droit d' asile. Lorsqu', en 1357, 1' assassin de Baillet tresorier general
de France, s' y refugia; et le Dauphin, qui etait alors regent du royaume, le fitarreter
et d' apres son jugement, il fut mis a mort : 1' eveque de Paris envoya publiquement
deplacer son corps de la potenCe, et il conduisit en personne les funerailles magnifiques
du coupable ! Louis XII abolit ce droit absurde. Pendant la Revolution la nef de
1' eglise fut entierement demolie, et la tour devenant la propriete des particuliers fut
transformee en une manufacture de balles de mousquet.

Cette tour rivalise, en objet de hauteur, le& tours de Notre Dame, etant depuis k-
sol de la rue jusqu a la balustrade 155 pieds de hauteur et ayant 30 pieds au dessus
de la balustrade une figure de Saint Jaques sculptee par un homme nomme Rault,
tailleur d' images, comme les sculpteurs dn quinzieme siecle etoient nommes. Elle est
carree et chacun de ses cotes a hors d' osuvre 30 pieds 9 pouces. La premiere pierre
de cette tour fut deposee d' apres les rapports de 1' eglise, en 1508, et elle fut terminee
en 1522 : la depense est evaluee a 1350 livres.

ECURIES DU ROI, RUE ST. THOMAS.

Ces Ecuries appartenoient autrefois au Due d' Orleans, mais, pendant les differ-
changements de la Revolution et du retablissement des Bourbons, elles sont
dcvenues la propriete de la Couronne. Au bas du tableau on voit une partie du Palais
Royal. Les chevaux sur le devant passent par une seconde grande entree qui ne se
montre qu' en partie et audessus de laquelle on voit cette inscription, ECURIES DU ROJ.

50

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CHAPELLE DBS INVALIDES.

This is the church of the Hotel Royal des Invalides, and considered a chef d' ceuvre
of modern French architecture.

Of the form of a Latin cross, the dome occupies the point at which the shorter
limb crosses the other, and was the work of M. Mansard. From the ground to the
top of the vane it is 105 metres or 323 French feet in height ; its extreme diameter is
fifty feet and its general form is very elegant. On the outside are forty columns of the
Composite order, supporting a balustrade. Above is an attic : then the cupola covered
with lead and gilt; then the lantern 'surmounted by a lofty spire and terminated by a
globe and cross. The interior is painted by La Fosse, Le Brun, and other eminent
masters. At the angles are four chapels, dedicated to the four Latin fathers, St.
Ambrose, St. Jerome, St. Augustine, and St. Gregory. The pavement is of variegated
marble, disposed in fleurs de lis, cyphers, 8tc. In the dome is the monument of Vauban,
erected to his memory in 1807 by the Corps of Engineers, and opposite to it that of Mar-
shal Turenne, originally placed in the Church of St. Denis, and transferred hither in 1800
from the Musee des Monumens Fran^ais. It bears the simple inscription, " Turenue : "
his remains are in the vaults beneath.

In this church Napoleon distributed, July 14, 1804, the cross of the Legion of
Honor to two thousand members of the order, who took the oath between his hands ; in
1806 he presented the Hotel with the sword of Frederick the Great of Prussia; and in
1814 there were accumulated in the nave of this church no fewer than 960 standards,
taken from the enemies of France since the Revolution. On the evening before the
entrance of the allied armies, in 1814, Joseph Buonaparte caused these colors to be burnt.
The grand altar, destroyed during the Revolution, has been restored with great care and
success by Boischard.

EGLISE DE ST. GENEVIEVE.

THIS is one of the few splendid works of Louis XV. The cross of the dome is
340 French feet from the ground. The ground plan is that of a-Greek cross. The
length of the entire structure is 339 feet, and the breadth 253 feet.

Designed originally to replace the old church of St. Genevieve, the patron saint ot
Paris, it bore her name until the Revolution, when, in 1791, the National Assembly ap-
propriated it to the interment of the distinguished men of France, and named it Le
Pantheon. Over the portico was inscribed: Aux GRAND HOMMES, LA PATRIK
RECONNOISANTE. To its illustrious men, dedicated by a grateful country. Napoleon
restored its name and its original destination as a place of worship, reserving the right
of interment in it, however, to men of high rank or consideration. In 1822 it was re-
consecrated by the archbishop of Paris.

The front is greatly admired. The portico is formed of 22 Corinthian columns, sup-
porting a triangular pediment enriched with sculptures, and here now appears the in-
scription: — D. O. M. SUB INVOC. S. GENOVEFJE. LUD. XV. DECAVIT. Lun. XVIII.
RF.STITUIT. The noble dome surmounting the centre of the view is surrounded by 32
Corinthian columns of beautiful proportions and workmanship: the interior is equally
elegant, and the four pillars sustaining the dome particularly light.

51

CHAPELLE DES INVALIDES.

CELLE-CI est 1' eglise de 1' Hotel Royal des Invalides et on la regarde comme un
chef-d'oeuvre de 1' architecture moderne des Francois. En forme de croix Latine, dans
1' eglise a 1' endroit ou les deux parties de la croix se rencontrent est situe le dome,
qui etoit 1' ouvrage de Monsieur Mansard. Du bas jusqu' au haut de la girouette la
hauteur est de 105 metres ou 323 pieds Franc.ais. Son diametre a 1' extremite a 50 pieds,
ct sa forme en general est elegante. Du cote du dehors il-y-a quarante colonnes
selon 1' ordre Compose, qui soutiennent une bulustrade. Au haut il-y-a un attique ;
ensuite une coupole couverte en plomb et doree : ensuite la lanterne surmountee d'un
clocher bien haute et terminee par un globe et une croix. L' interieur est peint par la
Fosse, le Brun, et d'autres maitres distingues. Aux angles il-y-a quatre chapelles
dediees aux quatres peres Latins, St. Ambrose, St. Jerome, St. Augustin, et St. Gregoire.
Le pave" est compose de marbre d'une diversite de couleurs, arrange en forme de fleurs-
de-lis, &c. Dans le dome on y voit la statue de Vauban, erigee pour perpetuer sa
memoire en 1807, par le Corps des Ingenieurs ; et vis-a-vis celui du Marechal Turenne,
autrefois placee dans 1' eglise de St. Denis, et ensuite transported du Musee des Monu-
mens Fran§ais; on y voit la simple inscription, " TURENNE." Ses cendres se reposent
dans les voutes de dessous.

Dans cette eglise Napoleon distribua le 14 Juillet, 1804, la croix de la Legion
d'Honneur a deux mille membres, qui firent serment entre ses mains. En 1806 il
presenta 1' epee de Frederic le Grande de Prusse a 1' hotel ; et dans le nef de cette eglise
on avait place 960 etendards, pris sur les ennemis de la France depuis la Revolution.
Le soir avant 1' entree des Allies, eu 1814, Joseph Buonaparte fit bruler ces drapeaux.
Le grand autel, detruit pendant la Revolution, a etc retable avic grand soin et succes par
Bouchard.

EGLISE DE ST. GENEVIEVE.

VOILA un du petit nombre des beaux edifices que fit batir Louis XV. La croix
du dome a 340 pieds Frangais de hauteur ; le modele du fond est en forme de croix
Grecque. La longueur de 1' interieur de ce batiment est de 339 et la largeur de 253 pieds.
Comme on 1'avoit toujours destinee a remplacer la vieille eglise de St. Genevieve, sainte
patronne de la viile de Paris, elle retint son nom jusqu' a la Revolution, quand 1' as-
semblee nationale, en 1791, la choisit pour la sepulture des hommes distingues de la
France, et elle porte le nom de Pantheon Francois. Au dessus du portique etait
inscrit :— " Aux grands homines, la patrie rec.onnoissante."

Napoleon restitua son nom, et sa destinee originale savoir lieu consacre a Dieu,
retenant cependant, le droit d' y ensevelir les hommes d' un rang eleve ou des per-
sonnes destinguees. En 1822 elle fut re"consacree par 1' archeveque de Paris. Son
fronton est en general beaucoup admire. Le portique est compose de 22 colonnes a la
C'orinthienne, qui soutiennent un fronton triangulaire enrichi de sculptures. Voici a
present 1' inscription : — D. O. M. sub invoc. S. Genovefae. Lud. XV. decavit. Lud.
XVIII. restituit. Le noble dome qui entoure le centre de la vue est entoure de 32
colonnes a la Corinthienne, bien proportionnees et artistement travaillees. L' interieur
est e"galement elegant, et les quatre piliers qui soutiennent le dome sont particulierement
lagers.
52

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BARRIERE DE L' ETOILE, OU DE NEUILLY.

THIS is situated at the most beautiful of all the entrances to Paris. It is composed
of two elegant quadrangular buildings, united by a handsome iron railing ; each
surrounded by twenty colossal columns, supporting a cornice and corresponding enta-
blatures, which terminate in a circular roof or dome.

A short distance from the outside of the barrier is the unfinished triumphal arch
de T Etoile. A fine avenue of trees conducts the passenger from the barrier to the
bridge of Neuilly.

ROTONDE, PASSAGE COLBERT.

THIS rotunda is the chief ornament of the Passage Colbert, a kind of arcade of
shops, similar to that which bears the name of the Burlington family, in Piccadilly,
London. It is situated in the Rue Neuve des Petits Champs, near the Palais Royal,
and leading to the Rue Vivienne. It has been very recently erected, and is considered
the handsomest among the numerous passages of this kind lately constructed in
Paris.

53

BARRIERE DE L' ETOILE, OU DE NEUILLY.

CETTE barriere est situee a la plus belle entree de Paris, et est composee de deux
elegants batimens carres, joints par une barriere en fer, chacun entoure de vingt colonnes
colossals, soutenant une corniche et des entablements convenables, qui sont terminees en
un comble rond ou dome. A peu de distance au dehors de la barriere est 1' imparfait arc
de triomphe de 1' Etoile. Une grande allee d'arbres conduit les passagers depuis la barriere
jusqu' au pont de Neuilly.

ROTONDE, PASSAGE COLBERT.

CETTE rotonde est 1' 'ornement principal du Passage Colbert, et c'est une sorte
d'arcade de boutiques, semblable a celle qui porte le nom de la famille de Burlington,
dans Piccadilly, a Londres. Elle est situee dans la Rue Neuve des Petits Champs, pres
du Palais Royal, et elle conduit ;\ la Rue Vivienne.

Elle a ete erigec depuis peu, et est consideree la plus belle parmi les differens pas-
sages recemment construits dans Paris.

54

BARHIERK DE t, ' ET O'f.E , O'.T E F.

LLY.

[imposee

BAKU IE HE BE L'ETOUE , O1T BE NEUILJL.Y,

ROTONBE , PASSAGE COLBERT

CHAMBRE DES DEPUTES ET PONT LOUIS XVI.

THE Palais de la Chambre des Deputes was formerly the Palais de Bourbon, and
erected at the beginning of the last century by Louisa Franchise, Duchess of Bourbon,
after the designs of the Italian architect, Girandi.

The peristyle, its principal ornament, is however of more modern construction, and
was designed by M. Poyet, under the direction of Napoleon, when he determined, in
1807, to give the Chamber of the Legislative Assembly (which then occupied this palace)
a more magnificent facade. This peristyle consists of twelve Corinthian columns, sur-
mounted by a triangular sculptured pediment, which represents Law seated on the
tables of the Charter, and supported by Strength and Justice : on one hand is seen
Peace conducting Commerce, and on the other Abundance followed by the Sciences.
These are the chief figures : in the angles are emblematical representations of the Seine,
Rhone, and Marne. The entrance to the palace is adorned with two colossal statues,
representing Minerva and Themis ; and at the foot of the stairs are figures of Sully,
1' Hopital d' Aguesseau, and Colbert, seated on pedestals. The edifice received its
present name in 1814.

The Pont Louis XVI. was begun in 1787, and finished in 1791, from the designs
of Perronnet: it has borne successively the names of the Pont Louis XVI., of the
Revolution, of the Legislative Body, and of Concord. It is considered a very light
and elegant specimen of this kind of architecture. The piers are nine feet thick ; the
span of the centre arch is 96 feet, that of the two adjoining 87 feet, and that of the
outer arches 78 feet. The length of the bridge is about 600 feet, and its width, in-
cluding the footpath, 48 feet. In the balustrade are pedestals for marble statues of
Bayard, Duguay-Trouin, Turenne, Tourville, Suger, Duguesclin, Conde, Cardinal de
Richelieu, Sully, Colbert, Duquesne, and Suffrein.

HOSPICE DE BICETRE.

THIS edifice, situated on the west of the road from Paris to Fontainbleau, about
half a league from the Barriere d' Italic, derives its name from John, bishop of Win-
chester, who built a chateau here in 1204, and whose name has undergone the successive
mutations of Winchester, Bichestre, Bicestre, and Bicetre.

Louis XIII. began the present edifice as a hospital for military invalids in 1632 ;
and it then took the title of Commanderie de Saint Louis. Under Louis XIV. it was
annexed to the hospital de la Salpetriere. It is now occupied as a general asylum for
the indigent, a lunatic asylum, and a prison. At a distance it has the appearance of an
immense fortification : on a nearer approach it appears an unusually lofty hospital, sur-
rounded by a fosse. In the prison criminals under sentence of death wait the result of
their appeal to the Court of Cassation.
55

CHAMBRE DBS DEPUTES ET PONT LOUIS XVI.

LE palais de la Chambre des Deputes etoit anciennement nomme Palais Bourbon,
et eleve au commencement du dernier siecle par Louise Franchise, Duchesse de Bourbon,
d'apres les dessins de 1' architecte Italien, Girandi.

Le peristyle, qui fait 1' ornement principal de ce palais, est de construction plus
moderne, et fut dessine par M. Poyet, sous la direction de Napoleon, quand il deter-
raina, en 1807, de donner la Chambre du Corps Legislatif (qui alors occupoit ce palais)
une fa9ade plus magnifique. Ce peristyle est compose de douze colonnes de 1' ordre Co-
rinthien, qui soutiennent un fronton, triangulaire, sculpte representant la Loi assise sur les
tables de la charte, et appuyee par la Force et la Justice ; d'un cote on voit la Paix
conduisant le Commerce, de 1' autre 1' Abondance suivie des Sciences. Ces sont les
figures principales : les angles sont occupes par des figures representant le Rhone, la
Marne, et la Seine. L' entree du palais est ornee de deux statues colossales, representant
Minerve et Themis ; et, au pied de 1' escalier, sont les figures de Sully, 1' Hopital
d' Aguesseau, et de Colbert, assises sur des piedestaux. L' edifice re§ut le nom qu'il
porte en 1814.

Le Pont Louis XVI. fut commence en 1787, et fini en 1791, d'apres les dessins de
Perronnet ; et a etc nomme consecutivement Pont Louis XVI., de la Revolution, du
Corps Legislatif, et de la Concorde. On le considere un exemple leger et elegant de
ce style d' architecture. Les piles ont neuf pieds d' epaisseur ; 1' empan de 1' arcade du
milieu a 96 pieds d' ouverture, celle des deux collaterals 87, et des culees 78. La
longueur du pont est de pres de 600 pieds, et sa largeur, comprenant les trottoirs, est de
48 pieds. Dans les balustrades sont des socles carres pour statues en marbre de Bayard»
Duguay-Trouin, Turenne, Tourville, Suger, Duguesclin, Conde, Cardinal de Richelieu,
Sully, Colbert, Duquesne, et Suffrein.

HOSPICE DE BICETRE.

GET edifice, situe" a 1'ouest de la route de Paris a Fontainebleau, a une demi-lieue
de la Barriere d' Italic, derive son nom de Jean, eveque de Winchester, qui y fit batir un
chateau en 1204, et du nom cidessus on a fait Winchester, Bichestre, Bicestre, et
Bic6tre.

Louis XIII. fit commencer cet edifice pour un hopital des invalides militaires en
1632, et il porte le nom de Commanderie de Saint Louis. Sous le regne de Louis XIV.
il fut annexe a 1' hopital de la Salpetriere. II est a present occupe comme un asile ge-
neral pour les indigents, asile lunatique, et prison. De loin, cet edifice resemble a une
grand fortification : mais quand on en approche de plus pres il paroit un tres haut hopital
entoure d'un fosse. Dans la prison, les criminels sous lejugement de la mort, attendent
le resultat de leur cause a la Cour de Cassation.
56

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CHA.MBRE DBS DEPUTES ET PQH"T LOUIS XVI.

HOSPICE BE BICETRE.

Jgmtnft Aulay July LJ/U.

POSTE ROYALE.

POSTING throughout France is entirely under the direction of the government; the
arrangements respecting it are therefore uniform, and every precaution is taken to pre-
vent imposition. This is the only establishment of Mews, or stabling, in Paris, for the
supply of post horses, and is connected with the Postes Royales on every road in France.
It is situated in the Rue de 1' Abbaie St. Germain.

MESSAGERIE ROYALE.

THIS is another of the useful as well as ornamental erections of this great city. It
stands in the Rue Notre Dame des Victoires, and has public carriages on all the prin-
cipal roads of France. Of the larger royal diligences one hundred and seventy-eight
are said to proceed weekly from this place, where the traveller pays, on being booked,
half his fare, and is furnished with a ticket stating the day and hour when the diligence
departs.

57

POSTE ROYALE.

LA poste aux chevaux en France est enti&rement sous la direction du gouverne-
ment ; les arrangemens qui la regarde sont en consequence uniformes, et toutes les
precautions sont prises pour empecher toute imposition. Ces sont les seules Ecuries dans
Paris pour se procurer des chevaux de poste, et elles sont unies aux Postes Royales sur
toutes les routes en France. Elle est situee dans la Rue de 1' Abbaie St. Germain.

MESSAGERIE ROYALE.

CETTE messagerie est un autre des batimens de cette grande ville, utile et qui sert
aussi d'ornement. Elle est situee dans la Rue Notre Dame des Victoires, et elle a des
voitures publiques sur toutes les routes les plus considerables de France. Des plus grandes
diligences royales on dit que cent soixante dix huit partent toutes les semaines de cet
endroit, ou le voyageur paye la moitie de sa place, et on lui donne un billet qui designe
le jour et 1' heure que la diligence doit partir.

58

POSTE R3YALE.

MESSAOERIE ROYAX.E.

MONUMENT OF THE BOUCHEE FAMILY, PERE LA CHAISE.

THIS monument is a striking ornament of the cemetery of Pere la Chaise, the
largest of the public burial grounds in the neighbourhood of Paris. Its site and general
aspect are very picturesque : the ground presenting a diversity of hill and dale, rendered
highly interesting by the interposing foliage and glistening monuments ; and commanding
the most extensive views of the metropolis and adjacent country. The whole inclosure
contains about one hundred acres. The entrance is in the centre of a semicircular recess,
over the gate of which is inscribed : " Scio enim quod Redemptor meus vivit et in
novissimo die de terra surrecturus sum." Job xix. 25. On the right side : " Qui credit
in me etiam si mortuus fuerit vivet." Joan. xi. 25. On the left : " Spes illorum immor-
talitate plena est." Sapient, iii. 4.

RUE CASTIGL1ONE,

Looking towards the Place Vendome.

THIS street, itself one of the finest in Paris, presents altogether, perhaps, the best
view that can be obtained of the celebrated column which now adorns the Place
Vendome.

A bronze equestrian statue of Louis XIV., standing on a white marble pedestal,
occupied the site of this column until the Revolution. The present bronze column,
commenced in 1806, and completed at the expense of a million of francs, is chiefly de-
signed to commemorate the victories of the preceding year, terminating with the battle of
Austerlitz; after which it has been called. It is 133 French feet (about 141 English)
high, by 12 feet French (12 feet 9 inches English) in diameter, and entirely covered with
the brass of artillery taken from the Austrians by Napoleon. The Trajan column was
its model, and, like that, the whole exterior is divided into compartments representing
the principal events of the campaigns celebrated. On the top stood originally a colossal
statue of Napoleon, which has given place, since the restoration of the Bourbons, to
a white flag. The sculptures were superintended by Denon. Altogether this is con-
sidered the most beautiful modern triumphal monument in existence.

59

MONUMENT DE LA FAMILE BOUCHEE PERE LA CHAISE.

CE monument est un ornement principal du cimetiere de Pere la Chaise, le plus
grand des cimetieres dans le voisinage de Paris. Sa situation et son aspect general sont
tres pittoresque, le terrain presentant une diversite de collines et de vallees, le tout rendu
tres interessant par le feuillage intermediaire, et des monumens magnifiques, et d'ou 1' on
de"couvre la plus grande etendue de la ville, et de la campagne aux environs. L' enclos est
de cent mesures de terre. L' entree est au centre d' une espece de demi-rond. Au
dessus de la porte est cette inscription : — " Scio enim quod Redemptor meus vivit et in
novissimo die de terraSmrrecturus sum." Job xix. 25. A droite, " Qui credit in me etiam
si mortuus fuerit vivet." Joan xi. 25. A gauche, " Spes illorum immortalitate plena est."
Sapient, iii. 4.

RUE CASTIGLIONE,

Qui donne vers la Place Vendome.

CETTE rue, une des plus belles dans Paris, presente tout a fait la vue la plus avan-
tageuse qu' on puisse obtenir de la colonne celebre qui embellit a present la Place
Vendome.

Une statue equestre en bronze representant Louis XIV. sur un piedestal de marbre
blanc, occupa sa situation jusqu' a la Revolution. La colonne actuelle de bronze, com-
mence"e dans 1' annee 1806, et 6rigee au depens d' un million de francs, est designee
principalement en commemoration des victoires des annees passees, terminee par la ba-
taille d' Austerlitz, dont elle prend son nom. Elle a 133 pieds Francois de hauteur sur
12 pieds de diametre, et couvert de bronze des canons pris des Austriens par Napoleon.
La colonne Trajane est son modele, et comme cela 1' exterieure est divise en compartemens
representant les eve'nemens principaux des campagnes celebrees. Sur le haut etoit ori-
ginallement placee une statue colossale de Napoleon, qui a donn6 la place depuis la
restoration des Bourbons a une banniere blanche : les sculptures furent executees sous
1' inspection de Denon. Tout a fait elle est consideree comme le plus beau monument
moderne de triomphe qui en existe.

60

K

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Monument dc. la, Famiile JBouchte.

PER.E JLA CHAISE.

RUE CASTIGLIONE.
donne, vers La Place.

PASSAGE DU SAUMON.

THIS is another of the modem passages of which so many have been recently
formed, and which are such agreeable promenades in Paris. It leads from the Rue
Montmartre to the Rue Montorgueil, is furnished with convenient baths, and has been
much admired for its elegant decoration.

LA MORGUE QUAI, NOTRE DAME,

Is a receptacle for the bodies of such individuals as fall victims to accidents, or are
murdered, or commit suicide. This establishment was commenced in 1804, and the
scenes sometimes witnessed here, when the nearest relatives come to recognize their
deceased friends, are very distressing. In 1815 there were deposited in this place 334
male and 99 female persons. The bodies are placed upon slabs of black marble
in a sloping position, and are seen through a glass frame work. When the view here
given was taken, we saw 13 bodies lying in this manner to be owned.

61

PASSAGE DU SAUMON.

CE passage est un autre des passages modernes dont plusieurs ont etc construit
receinment, et qui forment des promenades si agreables dans Paris. II conduit de la
Rue Montmartre a la Rue Montorgueil, on y trouve des bains commodes, et il a
etc beaucoup admire pour ses ornemens elegans.

LA MORGUE QUAI, NOTRE DAME,

Est un endroit pour les corps des personnes qui sont les victimes des accidens, qui
sont assassinees, ou qui se detruisent. Get etablissement fut commence en 1' an 1804, et
les spectacles qu'on y voit quelquefois, lorsque les parens viennent reconnoitre les
malheureux qui s' y trouvent, sont vraiment penibles. En 1' an 1815 on y trouva depose
334 hommes et 99 femmes. Les corps sont places sur une espece de table de marbre
noir, de maniere a ce qu'on puisse les voir a travers une espece de treillis. Quand
la vue ici representee fut prise, il y avoit alors 13 corps poses dans cette position pour
cHre reclames.

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PASSAGE DTJ SAUJMON" .

LA. MORO-UE, OUAl NOTRE DAME

PALAIS DE FONTAINEBLEAU, COUR D'HONNEUR.

THE Palais of Fontainebleau is situated about thirteen leagues from Paris, on the
high road to Lyons, and in the centre of one of the finest forests of France. It is of
irregular architecture, the work of several different reigns ; but is indebted for its
magnificent size and decorations to the taste of Francis I. and the celebrated Prema-
ticcio. It was also embellished by Henry IV., Louis XIII., Louis XIV., and Louis XV. ;
and may be considered as an assembly of four palaces, having five courts, each of different
architecture, and containing altogether about 900 apartments. Napoleon likewise ex-
pended here many millions of francs. Each palace has its distinct gardens. Henry
III. was born here. In modern times the palace has been distinguished for having been
long the compulsory residence of Pope Pius VII., and the scene of the abdication of
Napoleon, and the place where he took leave of the Imperial guard in 1814. One of
the most noble of the galleries, called the Gallery of Diana (which strangers are first
shown), owes its erection to Napoleon.

PALAIS DE FONTAINEBLEAU, FROM THE LAKE.

THERE is a grand fountain, which gives name to this celebrated palace, and it is
surrounded with various beautiful pieces of water : but the great basin, or lake, from
which this view is taken, is 600 toises, by 20 paces (of five feet French each), broad. It
is a fine contrast with the wild and grand scenery, natural and artificial, by which it is
surrounded.

63

PALAIS DE FONTAINEBLEAU, COUR D' HONNEUR.

LE Palais de Fontainbleau est situe environ il 13 lieues de Paris, sur la route de
Lyons, et au milieu d' une des plus belles forets en France. II est d' architecture dissem-
blable, ouvrage des regnes differens, mais il doit sa grandeur magnifique et ses decora-
tions au gout de Francois I., et du cele'bre Prematiccio ; il fut aussi embelli par Henri IV.,
Louis XIII., Louis XIV., et Louis XV. ; et on peut le considerer comme un assemblage
de quatre palais, ayant cinq couvs, chacune d' une architecture difierente ; il contient tout
ensemble 900 apartemens differentes. Chaque palais a ses jardins separes. Henri III. y
naquit. Dans les temps modernes le palais a e"te distingue parce qu' il fut pendant
long temps la residence par contrainte du Pape Pius VII., et la place de 1' abdication de
Napoleon, et ou il prit conge de la Garde Imperiale en 1814. Une des plus nobles des
galeries, sous le nom de la Galerie de Diane (qu' on fait voir premierement aux
etrangers), doit son erection a Napoleon.

PALAIS DE FONTAINEBLEAU, DU LAC.

IL y a une grande fontaine qui donne le nom £ ce palais celebre, et il est environne
de pieces d' eau variees et tres belles ; mais le grand basin, ou lac, d' ou cette vue est
designee, a 600 toises de longueur sur 20 pas de largeur. C' est un beau contraste
avec les vues grandes et incultes, naturelles et artificielles, dont il est environne.

64

PALAIS DE FOKTAINEXiEAU COtTR D' HONNTEtTjR

CHATEAU DE.

PONT ROYAL ET HOTEL DES GARDES DU CORPS.

THE Pont Royal was erected by Louis XIV. to supply the place of a wooden
bridge, carried away by the ice in 1684. It is composed of five stone arches, of very
correct and masculine architecture, and measures 432 feet in length, by 46 in breadth.
The view from the centre is very imposing ; comprising on the one hand the palace of
the Tuilleries and its gardens, and on the other the Hotel des Gardes du Corps.

This Hotel was erected during the reign of Napoleon, and is said to have been
designed by Clark, duke of Feltre, his minister of war. The architecture is very plain ;
the only ornament of the long front being the arms of France over the principal
entrance. The escutcheon is supported by two fine female figures by Taunay, repre-
senting Fame with her trumpet and crown, and France with a sceptre and laurel.

THE CATHEDRAL OF NOTRE DAME.

ROBERT the Devout, son of Hugh Capet, is generally regarded as the founder of
this edifice, which received for three centuries various additions. It is the oldest reli-
gious structure in Paris. At the period of the erection of the present Church
(A. D. 1010) an" older building was removed, the first Notre Dame, which was erected
in the early part of the sixth century on the ruins of a temple dedicated to Jupiter,
Castor, and Pollux, by merchants of Paris. Some curious stones dug up in March 1711,
in the choir of Notre Dame, assign the reign of Tiberius as the date of the foundation
of this temple. The bas reliefs have been engraved in various works ; a very interesting
and satisfactory account of them will be found in Dulaure, Histoire de Paris, torn. 1 ,
p. 103.

The dimensions of this Church we have already given. See the West View. Along
the whole length extend 120 massy columns, forming a double colonnade ; 297 such
columns, each cut from a single block, are interspersed through different parts of the
cathedral. The style of the architecture is a bold and delicate Gothic.

The facade presents three irregular porticoes, richly ornamented. They were
adorned, previous to the Revolution, with statues which were at that period destroyed.
The portico under the Northern tower is remarkable for a zodiac containing only eleven
signs, the twelfth, that of the Virgin (in honour we suppose of the patroness of the
church), being placed in much larger proportions on the pillar which separates the two
doors : the figure has been lately restored. In the Southern tower is a famous bell, Le
Bourdon, weighing 30,000 pounds, and which was baptized in the presence of Louis XIV.
and his court, on a platform erected in the middle of the church. The centre portico
is of modern architecture. The towers which rise over the side portals are each 40 feet
square, and 204 feet in height: their heavy architecture places in fine contrast the
second gallery between them, which is supported by Gothic pillars of exquisite work-
manship. These galleries surround the whole exterior, and the upper one presents the
finest views of Paris and the environs. In the description accompanying the South
view of this church will be found some account of its interior decorations.
65 s

PONT ROYAL ET HOTEL DES GARDES DU CORPS.

LE Pont Royal fut erige par Louis XIV. pour remplacer un pont de bois que les
glaces emporterent en 1684. II est compose de cinq arches en pierre d' architecture
tres correcte (et masculin), il a 432 pieds de longueur, sur 46 de larguer la vue du
centre est tres imposante, ayant, d' un cote le Palais des Tuileries et de 1'autre, 1' Hotel
des Gardes du Corps.

Get Hotel fut bati pendant le regne de Napoleon, et on dit qu' il a ete dessin6 par
Clark due de Feltre, ministre de la Guerre. L' architecture en est tres simple, le seul
ornement du fronton ayant les armes de France au dessus de 1' entree principale.
L' ecusson est soutenu par deux belles figures de Taunay representant La Renommee
avec sa trompette et sa couronne, et la France avec son sceptre, et ses lauriers.

CATHEDRALE DE NOTRE-DAME.

ON considere en general que Robert le devot, fils de Hugues Capet, fat le
fondateur de cette edifice, Qui a re^u pendant trois siecles plusieurs embellissemens,
Elle est d' une structure religieuse, la plus an ienne de Paris. Dans le terns qu'on erigeait
A. D. 1010, on demolit un plus ancienne edifice, la premiere Notre Dame, qui fut bati£
au commencement du sixieme siticle sur les ruines d' un temple dedie a Jupiter, Castor, et
Pollux, par les commerc.ans de Paris. D' apres les pierres curieuses deterrees le mois de
Mars 1711, dans le chceurde 1' eglise de Notre-Dame, fait presumer que c'etait sous le
regne de Tibere, que ce temple fut bati. Les bas reliefs ont ete graves dans plusieurs
ouvrages ou 1' on en fait un recit tres int6ressant, particulierement dans Dulaure
historic de Paris, tome 1, page 103.

Nous avons dejadonne les dimensions de cette eglise. II y a 120 colonnes massives
qui forment une double colonnade, et 297 de pareilles dont chacune est tallee d' un seul
bloc de pierre, sont entremeles dans les differens quartiers de la cathedrale. Le style
de 1' architecture est d' un Gothique parfait et delicat.

La facade presente trois portiques irreguliers, superbes et bien decores. Le portique
sous la tour du nord est remarquable par un zodiaque contenant seul 1 1 signes, le douzieme,
clui de la Virge, etant place en proportion beaucoup plus, large sur la colonne qui
separe les deux poites. La figure a 6te recemment retablie. Dans la tour du midi il y a
une cloche appelee Bourdon, et pesant 30,000 livres, qui fut baptisee en presence de
Louis XIV. et sa cour, sur une plateforme erigee pour ce sujet dans le milieu de 1' eglise.
Le Portique du milieu est d' une architecture moderne. Les tours qui sont sur les portails
sont chacune de 40 pieds carres, et de 204 pieds de hauteur, 1' architecture qui en est
grossiere fait un beau contraste avec la seconde gallerie qui est entre les tours. Elle est
soutenue par des colonnades Gothiques d' un travail exquis. Ces galleries entourent tout
1' exterieur, et la plus haute presente la plus belle vue de Paris et de ses environs.
D' apres la description de la vue du midi on peut juger de celle de 1' interieur.

66

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L EGLISE DE NOTRE DAME . VERS I/OBIENT .

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CHURCH OF ST. MERRI, OR ST. MEDERIC (RUE ST. MARTIN.)

As early as the sixth century there is said to have been a chapel on the site of this
church, dedicated to St. Peter. In 700 died St. Mederic (by corruption St. Merri), and,
being buried here, Louis le Debonnaire bestowed his name by diploma on the existing
church or chapel. Early in the eleventh century it became attached to the chapter of
Notre Dame, was considered a parish church, and the canons of Notre Dame performed
the office of curate, alternately, week by week, until 1219, when we find the administra-
tion of the parish of St. Merri given to the elder of their body, who shortly after
required a coadjutor; and these two curates performed the weekly service alternately
until the Revolution. The present building was erected in 1519 ; its architecture is
Gothic ; and the choir is considered very elegant. The chapels of the Communion, and
those in the transept, contain some fine paintings ; particularly a St. Merri, by Vouet ;
and the Virgin and Infant, and a St. Charles, by Carloo Vanloo. The brothers Slodtz
(of the last century) have adorned the whole interior with considerable taste.

The translation of the patron saint's body hither in 884, by all the regular and
secular clergy of Paris, is well authenticated. Up to this period the chapel bore the
name of St. Peter.

CHURCH OF ST. EUSTACHE (RUE MONTMARTRE).

A CHAPEL was once dedicated to St. Agnes, we are told, on this spot by Jean
Alais, as an expiation to the good citizens of Paris for having been the author of the tax
of a denier on each basket of fish sold at the Halles. In 1223, however, there was a
church here bearing the name of St. Eustache.

The present building is comparatively modern, having been commenced in 1532
and finished in 1642. There are fanciful departures from the Gothic for the Arabic and
Greek architecture, in its structure, which do not add to its beauty ; and in the interior
the columns supporting the body of the church are strangely disproportionate to the
magnitude of their burden. The front is quite modern ; composed of the Ionic and
Doric orders, surmounted by a triangular pediment, having formerly two square towers
at the extremities ; one of these is now destroyed. The portico, commenced after the
designs of Mansard de Jouy, was finished in 1788 by Moreau. The pulpit was de-
signed by Lebrun.

This church contained formerly the tombs of Colbert, La Fosse the painter,
Vaugelas, admiral Tourville, and various other persons of distinction. That of Colbert
was designed by Lebrun, and executed by Tubi and Coysevox. It was transferred at the
Revolution (during which this church suffered much) to the Musee des Monumens
Franc,ais, but has been restored. The minister is represented kneeling on a sarcophagus
of black marble before a book, attended by full sized figures of Plenty and Religion ;
Joseph distributing corn, and Daniel delivering the commands of Darius to the Persian
council, are the subjects of fine bas-relief ornaments. The following is the epitaph of
this truly great man : — " D. O. M. Prseclara ac pernobili stipite equitum Colbertorum, qui
anno Domini 1285 ex Scotia in Galliam transmigrarunt, ortus est vir magnus, Joannes
Baptista Colbertus, marchio de Seignelai, etc., regi administer, eerarii rationes in certum
et facilem statum redegit. Rem navalem instauravit. Promovit commercium. Bonarum
artium studia fovit ; summa regni negotia pari sapientia et tequitate gessit. Fidus,
integer, providus, Ludovico Magno, placuit. Obiit Parisiis, anno Domini 1683, aetatis
04.

67

EGLISE DE ST. MERRI, OU DE ST. MEDERIC

ON dit que des le sixieme siecle qu' il y avait sur 1' assiette de cette Eglise, une
chapelle, dediee a Saint Pierre. En 700, St. Mederic (ou par corruption St. Merri),
mourut, et y ayant etc enterre, Louis le de Debonaire par lettres patentes donna
son nom a cette Eglise ou chapelle existante. Ce qui fait qu' on 1' appelle encore aujour
d' hui St. Merri. Au commencement du onzieme siecle elle devint attachee au chapitre
de Notre Dame. Elle fut consideree comme Eglise Paroissiale, et les prebendiers de
Notre Dame s' acquitterent de la charge de vicaire, alternativement chaque semaine,
jusqu' en 1219, ou il parait que 1' administration de la paroisse de St. Merri, fut
donnee au plus ancien de leur corps qui, peu de terns apres requis un coadjuteur ; et
ensuite deux vicaires qui s' acquitterent de cette charge alternativement jusqu' a la
Revolution. L' edifice actuel fut bati en 1519. Son architecture est Gothique et le
chosur est considere, tres elegant. Les chapelles de Communion et celle dans le transept
contiennent de superbes tableaux, particulierement le portrait de St. Merri, par Vouet ;
la Vierge et 1' enfant Jesus, et un St. Charles, par Carloo Vanloo. Les confreries du
dernier siecle en ont orne 1' interieur avec beaucoup de gout.

La translation du corps du patron, St. Merri, qui cut lieu a Paris en 884 par tout
le clerge regulier et secuher est de bonne autorite. Jusqu' a cette eqoque la chapelle
a porte le nom de St. Pierre.

EGLISE DE ST. EUSTACHE, RUE MONTMARTRE.

UNE chapelle fut anciennement dediee a St. Agnes, sur cette place, par Jean Alais
par expiation pour ayant ete 1' auteur de 1' impos d' un denier pour chaque panier de
posson vendu aux Halles. In 1223, cependant, il y a ici une eglise qui porte le nom de
St. Eustache.

L' edifice actuel est moderne ayant ete commence en 1532 et fini en 1642. L' aban-
donment capricieux de 1' architecture Gothique pour 1' Arabique et Grec, dans sa construc-
tion, ne le fait pas plus beau ; et dans 1' interieur les colonnes qui soutiennent la nef de
1' e'glise sont tres disproportionnes a la grandeur de leur charge. La facade est tres
moderne, composee d' architecture lonique et Dorique, surmountee par un fronton trian-
gulaire, ayant eu deu tours carries sur les extremites ; dont il y en a une demolie. Le
portique, coxmencfe d 'apres les desseins de Mansard de Jouy fut fini (en 1788) par
Moreau. La chaire a precher fut dessinee par Lebrun.

Cette eglise contenait autrefois, les monumens de Colbert, de la Fosse le peintre,
de Vaugelas, de 1' Amiral Tourville, et de plusieurs personnes distinguees. Le monument
de Colbert fut dessine par Lebrun et execute par Tubi et Coysevox. Le ministre est
represente a genoux sur un sarcophage de marbre noir, devant unlivre, accornpagne
de deux grandes figures, representant la Religion et 1' Abundance. Meduillors de bronze
represent oient Joseph occupe a fairedistribuerdu ble au peuple d'Egypte,et Daniel donnant
les ordres de Darius aux satrapes de Perse. L' epitaphe suivante est celle de ce vrai grand
homme : — " D. 0. M. Prseclara ac pernobili stipite equitum Colbertorum, qui anno
Domini 1285 ex Scotia in Galliam transmigrant, ortus est vir magnus, Joannes
Baptista Colbertus, marchio de Seignelai, etc., regi administer, aerarii rationes in certum
et facilem statum redegit. Rem navalem instauravit. Promovit commercium. Bonarum
artium studia fovit ; summa regni negotia pari sapientia sepuitate gessit. Fidus, integer,
providus, Ludovico Magno placuit. Obiit Parisiis, anno Domini 1683, aetatis 64."

68

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HOTEL DE CLUNI.

OF the Hotel de Cluni we have already given some account. In almost all the
countries of Europe, the study of what may properly be called domestic architecture
has been neglected, as we think, for that of edifices of prouder, but not more important,
pretensions ; for the history of this department of the arts must ever be interesting, as
connected with the customs and manners of a people, and indeed with the whole
progress of civilization. To aid in such a history, with regard to France, we here give a
view of this celebrated Hotel as it appeared in the fifteenth century. It is now, it
seems, the property of a bookseller, and part of it has been converted into a printing
office.

The massive appearance and numerous ornaments of the older hotels of Paris,
which often have belonged to the middle classes, will seem very striking to the
traveller.

NOTRE DAME— VUE DU MIDI.

THE interior of this superb edifice was once worthy the simple grandeur of its
general appearance. As the cathedral of Paris, it was a favorite object of the munifi-
cence of the French monarchs, as well as of the corporation of the city and its various
fraternities.

Before the altar of the Virgin, prior to the Revolution, was a magnificent lampa-
daire of silver, containing seven distinct lamps, six of which were the gift of Louis XIV.
and his queen : that which was in the centre, of the form of a ship, was a present from
the city of Paris, in performance of a vow. One of the canons gave the chief
paintings which adorned the choir ; those interspersed through the immense extent of
the nave, the cross aisles, and chapels, were the accumulation of an annual offering
made during a century by the company of Goldsmiths and the fraternities of St. Anne
and St. Marcel.

Although most of the relics disappeared at the Revolution, the choir is still superb.
Its modern ornaments were executed by the Decottes (sen. and jun.), and finished in
1714. In the centre is a brass eagle, seven feet high and three feet from wing to wing :
and two angels in bronze adorn the entrance. The stalls on the two sides of the choir, and
particularly the two appropriated to the archbishop, are of beautiful workmanship. They
are surmounted by a rich cornice, and some of the finest paintings of the French school.
The grand altar was erected by Louis XIV., and, since the Restoration, has been adorned
with two marble statues of Louis XIII. and XIV., which had been removed to the
Musee des Monumens Francois.

Steps of Languedoc marble conduct to the sanctuary, the altar of which has been
greatly admired. It is three feet eight inches long and three feet high, and has eight
circular supporters, which, as well as the steps, are of white marble. In front are three
bas-reliefs. The regalia of Charlemagne and many gold and silver vases are exhibited
here, together with the splendid robes made for the clergy at the coronation of Buona-
parte, and presented by him to this cathedral. They are still worn on fete days, but the
bees with which they have been adorned have been exchanged for lilies. Among the
modern ornaments, here is a sun of gold, presented by Louis XVIII. in commemoration
of the success of the French in Spain in 1823.
69 T

HOTEL DE CLUNI.

pays

pouvons juger pour les edifices supeneurs,

1' histoire de ce departement des arts, doit etre a jamais interessant ; etant en union avec

les coutumes et les mceurs des peuples civilises.

Pour supplier a une pareielle histoire relativement a la France, nous donnons ici
une vue de ce fameux Hotel, comme il a paru au cinquieme siecle. C' est a present la
propriete d' un libraire qui en a converti une partie en une imprimerie. La massive
apparence et les nombreux ornemens des plus anciens Hotels de Paris, ayant souvent
appartenu a la moyenne classe des habitans de cette ville etonne beaucoup le
voyageur.

NOTRE DAME— VUE DU MIDI.

L' interieur de ce superbe edifice, £tait autrefois digne de la simple grandeur de son
apparence. Comme la cathedrale de Paris c' etait un objet favori de la munificence des
Rois de France, ainsi que de la corporation de la ville et ses varies fraternites. Devant
1' autel de la vierge, avant la Revolution, il y avait un lampadaire d' argent, contenant
sept differentes lampes, dont six furent presentees par Louis XIV. et sa reine : celle du
centre, qui etait de la forme d' un vaisseau, fut presentee par les Bourgeois de Paris, pour
accomplir un vceu. Les principaux tableaux qui decoraient le chceur furent presentes
par un des chanoines, ceux qu'on voit dans 1' etendue immense de la nef, des alettes et
des chapelles, sont le produit d' une oblation annuelle faite pendant un siecle, par la
compagnie des Orfevres et les fraternites de St. Anne et de St. Marcel.

Quoique plusieurs des reliques aient disparu pendant la Revolution, le chreur est
dans ce moment superbe. Les ornemens modernes ont etc dessines par M. M. Decottes
sen. et jun.,et finis en 1714. Dans le milieu est un aigle en bronze, il a sept pieds de
hauteur et trois d'aile a aile : deux anges en bronze ornent 1' entree. Les stalles de
chaque cote du chceur, et particulierement celles qui sontappropriees a 1' archeveque sont
d' une belle construction. Us sont surmontes par une riche cornice, et quelques-uns des
plus beaux tableaux de 1' ecole Fran§aise. Le grand autel fut erige par Louis XIV. et
depuis la restoration il a ete orne de deux statues en marbre representant Louis XIII. et
XIV., qui ont ete transportees au Musee des Monumens Frangais.

Des marches de marbre du Languedoc conduisent au sanctuaire, dont 1' autel a ete
beacoup admire. II a trois pieds huit pouces de longueur, et trois pieds de hauteur, et il
y a huit atlantes qui aussi bien que les marches sont en marbre blanc : en face il y a trois
has reliefs. Les regaliens de Charlemagne et plusieurs vases d'or et d 'argent sont ici
montres avec les robes magnifiques faites pour 1' usage du clerge au couronnement de
Buonaparte, et presentees par lui a cette cathedrale. Elles sont portees les jours de
fetes, mais les abeilles dontelles etaient decorees ont ete changees en fleurs-de-lis. Parmi
les ornemens modernes il y a un soleil d' or, presente par Louis XVIII. en 1' honneur
du succes des Franc, ais en Espagne, en 1823.

70

HOTEL DE CLUNI.

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NOTRE'BAlWfE ( VUE, DU M1BI.)

INTERIOR OF THE CHURCH OF THE HOTEL DES

INVALIDES.

FEW modern churches rival this edifice in the richness of its ornaments, which are
characteristic of the age of Louis XIV. In the entablature of the dome (the dimen-
sions of which are given in our description of the church) were formerly placed medal-
lions of the French kings, beginning with Clovis and ending with Louis XIV. At the
Revolution these gave place to the Grecian and Roman philosophers, and Voltaire and
Rousseau : but the original representations have been since restored. The altar is adorned
with six twisted columns, in groups of three, highly ornamented and gilt : they support
a canopy, surmounted by a globe and cross. The whole of the figures and ornaments
of the altar are by Vancleve and Coustou. The church is dedicated to St. Louis, and
over the entrances of the chapels and in various parts of the interior are bas-reliefs
representing the principal events of his life. The chapels also possessed formerly a variety
of beautiful marble statues, which were destroyed at the Revolution.

Always attached to the Hotel des Invalides, Louis XIV. enjoined upon the Dauphin
and his successors, in his will, by " every kind of motive," to maintain this establish-
ment, " and afford it their special protection."

STAIRCASE OF THE CHAMBER OF PEERS.

The Chamber of Peers occupies a magnificent hall, which has been constructed for
its accommodation in the centre compartment of the palace of the Luxembourg. It is in
the form of a Greek Theatre, about 80 feet in diameter, supported by Corinthian
columns, in imitation of marble. In the interior are statues of Solon, by Roland ;
Aristides, by Cartellier ; Scipio Africanus, by Ramey ; Demosthenes, by Pajou ; Cicero,
by Houdon ; Lycurgus, by Foucon ; Camillus, by Bridan ; Cincinnatus, by Chaudit ;
Cato of Utica, by Clodiou ; Pericles, by Masson ; Phocion, by Delaistre ; and Leonidas,
by Lemet. In a recess facing the assembly is the president's seat, and before it, is a
bust of Louis XVIII. , by Dupaty. It is approached by the magnificent staircase deli-
neated in the plate.

Since 1814 the name Palais de la Chambre des Pairs has been given to the whole
of the celebrated edifice in which it holds its sittings. In the singular succession of its
names, the entire history of France for the last two centuries may be said to be epitomized.
See the general view of the Palace.

71

INTERIEUR DE L' EGLISE DE L HOTEL DBS INVAL1DES.

PEU d' eglises modernes surpassent cet edifice dans la magnificence de ses ornemens,
qui sont distinctifs du siecle de Louis XIV. Dans 1' entablature du dome (les mesures
dont nous avons donne dans la description de 1' eglise) on avait autrefois, place des
medaillons des Rois de France, commen§ant par Clovis et finissant par Louis XIV.
Du temps de la Revolution ils furent remplaces par des ressemblances des philosophes,
Grecs et Remains ; de Voltaire et de J. J. Rousseau, mais les anciennes representations
ont ete restituees.

L' autel est embelli de six colonnes, en grouppes des trois ; beaucoup orne et dore.
Elles soutiennent un dais, surmonte d' une boule et d' une croix. Les figures et les
ornemens de 1' autel sont par Vancleve et Coustou. L' eglise est dediee a St. Louis,
au dessus des entries des chapelles, et autres parties de 1' interieur sont des bas reliefs
representant les principaux evenemens de sa vie. Les chapelles aussi ont eu ancienne-
ment une variete de belles statues de marbre, qui furent demolies a la Revolution.
Toujours attache a 1' Hotel des Invalides, Louis XII. ordonna dans son testament que le
Dauphin et ses successeurs particulierment entretiendraient et protegeraient cet eta
blissement.

ESCALIER DE LA CHAMBRE DES PAIRS.

LA chambre des pairs occupe une salle magnifique qui a ete construite expres au
centre compartiment du palais de Luxembourg : elle est de la forme d' un theatre Grec.
Elle a pres 80 pieds de diamettre, supportee par des colonnes de 1' ordre Corinthien,
imitant le marbre. On voit dans 1' interieur les statues suivantes ; savoir, Solon, par
Roland; Demosthenes, par Pajou; Aristide, par Cartellier; Scipion 1' Africain, par
Ramey ; Ciceron, par Houdon ; Lycurgue, par Foucon ; Camille, par Bridan ; Cincin-
natus, par Chaudit ; Caton d' Utique, par Clodion ; Pericles, par Masson ; Phocion, par
Delaistre ; et Leonidas, par Lemot. La chaise du president est placee dans une enclave
qui fait face a 1' assemblee, et un buste de Louis XVIII., par Dupaty. On approche de
la Chambre des Pairs par un escalier, que nous avons decrit dans la gravure.

Depuis 1814 le nom de la Chambre des Pairs a ete donne a tout 1'ensemble de ce
manifique edifice oil elle tient ses ceances. Dans la succession des differens noms que
cet Edifice a eus ; 1' Histoire de France depuis deux siecles pourrait 6tre epitomee.
Voyez la vue generale du Palais.

72

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PERE LA CHAISE.

THE Pere la Chaise has already engaged our attention. This is one of the many
interesting views that are presented in the interior.

As well as its more common name this cemetery is often called by that of Mont
Louis, from its being the spot where Louis XIV. when a child witnessed the engagement
of the Faubourg St. Antoine, given by Marshal Turenne in honor of the Prince de Conde.
Its name Pere la Chaise is derived from that of the Jesuit Confessor of Louis XIV.,
who exercised an absolute control over the ecclesiastical affairs of France, about the
year 1680, and to whom his Royal Master presented this estate as an occasional retreat
from the fatigues of business. After his death it belonged to the order of the Jesuits
until its abolition in 1763 ; and here the memorable Revocation of the Edict of Nantes
is said to have been resolved on. Being sold for the benefit of the creditors of the
Jesuits, it now passed through the hands of various purchasers, to those of the Prefect
of the Seine, who first laid it out as a cemetery in 1804, after the designs of M. Bron-
giart. The first funeral took place May 21, in that year, since which 100,000 persons
are supposed to have been interred here, besides those received from the hospitals.

The graves are of three kinds : 1st, The Fosses Communes, or public graves ; in
which the poor are buried gratuitously, side by side. 2nd, The temporary graves, which
on payment of 50 francs, may be held for ten years. 3rd, The perpetual graves, at 250
francs per metre. A temporary grave may be made perpetual at any time within the ten
years, when the 50 francs are allowed as part of the payment.

PETIT TRIANON.

THIS is, altogether, an attractive specimen of the taste of Gabriel, an architect of
the reign of Louis XV. It is situated in the park of Trianon, and is a Roman Pavillion,
decorated throughout with the Corinthian order. The plan is a square, whose sides
measure eighty feet, and the edifice consists of two stories above the ground floor. The
gardens are laid out both in the English and French style, and diversified with a musical
theatre, a saloon, temples, cottages, cascades, &c. In the Jardin Anglais is the beautiful
little Corinthian Temple of Love. Since the restoration of the Bourbons, although this
was a favorite retreat of Marie Antoinette, the grounds have been neglected.

Here, in 1814, the Empress Maria Louisa received her father, the Emperor of
Austria, on the abdication of Napoleon.

73

PERE LE CHAISE.

la Chaise a deja occupe notre attention. Ci joint est une des vues la plus
interessante qu' on puisse voir de 1' interieur.

Aussi bien que le nom de Pere la Chaise ce cimetiere est aussi connu sous celui de
Mont Louis, parce que ce fut 1' endroit d' ou Louis XIV., lors qu' il netait qu' un enfant,
vit le simulacre du combat du Faubourg St. Antoine, donne par le Marechal de Turenne
en 1' honneur du Prince de Conde. Le nom de Pere la Chaise est derive du confesseur
Jesuite de Louis XIV., qui exer§ait un controle absolu sur les affaires ecclesiastiques de
la France, vers 1' an 1680, et a qui son Auguste Maitre presenta ce terrain pour en faire
une retraite occasionelle des soins de son office. Apr&s sa mort il appartint a 1' ordre
des Jesuites jusqu' a leur abolition en 1763. On dit que ce fut la que la revocation me-
morable de 1' Edit de Nantes fut resolu. Ayant fete vendu au profit des creanciers des
Jesuites, il passa entre les mains d' une variete^ d' acheteurs d'apres quoi il devint la pro-
priete du Prefect de la Seine, qui en fit faire un cimetiere en 1804, d' apres les dessins
de M. Brogiart. Le premier enterrement eut lieu le 2 1 May, de la m6me annee, depuis
quoi on croit qu'il y a eu 100,000 personnes d'enterrees outre celles re§us des hospices.

II y a trois sortes de fosses : — ler, Les fosses communes dans lequelles les pauvres
sont enterres gratuitement. 2nd, Les fosses temporelles, qui en payant 50 francs peuvent
£tre retenues pour dix annees. 3me, Les fosses perpetuelles, a 250 francs par metre ; les
fosses temporelles peut £tre faites perpetuelles quelquefois pendant dix annees, quand
les 50 francs sont alloues en partie du payement.

PETIT TRIANON.

C'est entierement un modele attractif du gout de Gabriel, architecte du regne de
Louis XV. II est situe dans le pare de Trianon, c'est un pavilion Romain, decore
d'apres 1' ordre Corinthien. Le plan est un carre dont les cotes mesurent 80 pieds, et
1' edifice est construit de deux 6tages au dessus du rez de chaussee. Les jardins sont
arranges d' apres le style Anglais et Frangais, et varies en un theatre de musique, un
saloon, des temples, des cabanes, des cascades, See. Dans le jardin Anglais est le beau
petit Temple de 1' Amour de 1' ordre Corinthien. Depuis la retablissement des Bourbons,
quoique ce fut une retraite favorite de Marie Antoinette, les terrains en ont etc negliges.

C'est, ici qu' en 1814, 1' Imperatrice Marie Louise re§u son pere, 1' Empereur
d' Autriche, a 1' abdication de Napoleon.

74

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ST. ROCHE.

THE first stone of this church was laid in 1653, by Louis XIV. and Anne of Austria ;
but the edifice was proceeding in 1720, when the banker Law, who had recently been
appointed Comptroller-General of the Finances, gave 100,000 livres toward its com-
pletion. It was not, however, finished until the year 1740.

The original designs of the church were furnished by Mercier; those of the portico
and final embellishments by Robert de Cotte. The front is composed of the Doric and
Corinthian orders, supporting a triangular pediment : on the steps are frightful traces of
the cannonade of the 13 Vendemaire (October 5, 1795), when the troops of the Con-
vention, under the command of Buonaparte, attacked the sections of Paris.* The
interior has been considered gaudy ; but the Revolution stripped it of most of its orna-
ments, which have not been restored. The pulpit is regarded as a chef-d'oeuvre of its
kind ; it is of brown wainscot, gilt and carved. Above the altar are two fine paintings
by Vien and Doyen, and behind the choir three chapels.

Several other chapels are attached ; one on the right of the view contains the
tombs of the philosopher Maupertius, of the celebrated horticulturalist Lenostre, and
of the two sculptors Augier : in a chapel opposite are those of cardinal Dubois and the
painter Mignard. The abbe de 1' Epee was also buried in this church. But its chief
deposit is the body of CORNEILLE, to whom, in 1821, the present Duke of Orleans put
up under the altar the first and only monument.

THE CHURCH OF THE ORATOIRE.

THIS ancient edifice, now the principal one devoted to Protestant worship in Paris,
was completed in 1630, from the designs of Le Mercier. It is throughout a most correct
and beautiful exhibition of the Corinthian order. At first it took the name of Chapelle
du Louvre. We hardly need remind the reader of the eminent names which the Con-
gregation of the Pretres de 1' Oratoire could boast : it will suffice to mention those of
Mallebranche and MASSILLON. The high altar was originally decorated with four
marble columns and a rich canopy : the altar-piece, enriched with a bas-relief in bronze,
was presented to the church by Madame de Montespan. The church had also several
good paintings.

On the suppression of the Congregation, in 1792, the church was used for the public
meetings of the quarter in which it stands. In 1802 it was ceded to the Protestants of
the confession of Geneva ; and at the present time has divine service performed in it by
French or Swiss Protestant clergymen every Sunday, at half-past ten in the morning,
and by an English clergyman at three. The chaplain of the American embassy, an In-
dependent, also preaches, at a quarter past two o'clock, in a small chapel behind the
upper part of this church.

* This ' day of the sections' became the foundation of Napoleon's fortunes : " that little Corsican officer,
who would not stand upon ceremony," as Barras described him. Was this the reason why he suffered the
traces of it to remain during his long possession of power?
75

EGLISE DE ST. ROCHE.

LA premiere pierre de cette eglise Cut posee en 1653, par Louis XIV. et Ann
d' Autriche; mais 1' edifice n'etoit pas encore fini en 1720, quand M. Law, le banquier,
qui avait ete recemment nomine Comptroleur-General des Finances donna 100,000 livres
vers son achevement. II ne fut cependant fini qu'en 1' annee 1740. Les premiers
dessins de cette eglise furent fournis par M. Mercier ; ceux du portique et les embel-
lissemens sont par Robert de Cotte. La facade est composee d'apres 1' ordre Dorique et
Corinthien, soutenant un fronton triangulaire.

On voit encore sur les marches des vestiges de la cannonade du 13ze Vendemaire
(5 Octobre), 1795, quand les troupes de la Convention attaquerent les sections de Paris.*
L' interieur en a ete considere trop brillant ; mais la Revolution le depouilla des plus
fastueux de ses ornemens, qui n'ont pas ete restitues. On considere la chaire commeun
chef-d'oeuvre de son espece ; elle est construite de boissage noir, dore et taille. Au dessus
de 1'autel sont deux tableaux par Vien et Doyen, etderriere le chosur sont trois chapelles.
Plusieurs autres chapelles y sont attachees ; 1' une sur la droite de la gravure contient les
sepulchres du philosophe Maupertius, du celebre jardinier Lenostre, et des deux sculp-
teurs Augier : dans une chapelle vis-a-vis sont ceux du cardinal Dubois et du peintre
Mignard. L' abbe de 1' Epee fut aussi enterre dans cette eglise. Mais son chef-depot est
le corps de Corneille, a qui, en 1821, le Due d' Orleans fit erriger sous 1' autel le premier
et le seul monument.

EGLISE DE L' ORATOIRE.

CET ancien edifice est dans ce moment 1' eglise principale consacree a la religion
Protestante dans Paris. Elle fut finie en 1630 d' apres les dessins de Le Mercier. Le
tout ensemble est un bel exemple de 1' ordre Corinthien. En premier lieu elle portait le
nom de la Chapelle du Louvre. II n'est pas necessaire de rappeler au souvenir du
lecteur les noms distingues dont la congregation des Pretes de 1' Oratoire pouvaient se
vanter. II sufnt de faire mention de ceux de Mallebranche et de Masillon. Le grand
autel etait ancienment decore de quatre colonnes en marbre et d' un riche dais ; le con-
tre-retable, embelli d' un bas relief en bronze, fut presente a cette eglise par Madame de
Montespan. II y avait aussi dans 1' eglise plusieurs superbes tableaux.

A la suppression de la congregation, en 1792, 1' eglise futoccupee par les assemblies
publiques du quartier dans le quel elle est situee. En 1802 elle futcedee aux Pro-
testans de la confession de Geneve, et ii present le service divin est celebre par des
ecclesiastiques Protestans Frangais ou Suisses tous les Dimarches a dix heures et demie,
et par un ecclesiastique Anglais a trois heures. Le chapelain Americain qui est, un
Independent, preche aussi dans une petite chapelle derriere 1' eglise a deux heurs et
quart.

* Ce 'jour des sections' devenu 1' origine de la fortune de Napoleon : "le petit officier Corsicain, qui ne
voulut pas attendre de ceremonie," comme dit Barras. Est ce& la raison pour la quelle il en a laisse les
traces pendant son long regne ?
76

caecui

*

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I

1

FONTAINEBLEAU, FROM THE GARDEN.

THE description of this palace and its neighbourhood might of itself occupy a
distinct work.

The noble forest in which it stands contains about 25,000 English acres, and spreads
over many distinct hills and plains. Some of the former are finely wooded, and great
fertility occasionally appears in the valleys, but dark barren rocks push up their peaks
among the foliage, and large insulated stones are scattered about every where. Nature*
indeed, frequently frowns upon the traveller here in a kind of savage grandeur, and
offers a most picturesque contrast to the works and triumphs of art to which he is
introduced at the palace.

Fontainebleau . is a hunting seat, and the forest abounds in game. Louis XV. is
said to have frequently hunted here with a retinue amounting to upwards of 10,000
persons. Numbers of the peasantry of the neighbourhood are seen cutting down and
transporting the timber, by means of the Seine, toward the metropolis, which also
derives from this spot great quantities of fine paving and other stone. One of the finest
roads in France is that which traverses this forest from north to south, or from Paris
toward Lyons. It was on this road that Napoleon, having slept at the palace on the
19th, advanced toward Paris at about noon of the 20th of March, 1815 — "and he
advanced alone." The troops, under Marshal Macdonald, were encamped on an
eminence on the Paris side of the forest, listening with apparent delight to Vive Henri
Quartre, and other loyal strains, when they suddenly perceived an unattended, open
carriage coming at full speed through the wood. " A handful of Polish lancers," says a
popular biographer, " with their lances reversed, followed the equipage. The little flat
cocked hat — the gray surtout — the person of Napoleon was recognized. In an instant
the men burst from their ranks, surrounded him with cries of Vive 1' Empereur, and
trampled their white cockades ^traitorously) in the dust."

The view here given is taken from the garden on the south-west of the palace,
opposite to the Place d'Armes.

FONTAINEBLEAU. COUR D'HONNEUR.

THE Cour d' Honneur has borne also the names of the Cour du Donjon and Cour
Ovale. It is one of the oldest portions of the palace. The two tiers of buildings which
surround it communicate outside by a balcony, supporting forty-five stone columns, the
capitals of which are of various architecture, in the style of the sixteenth century. The
balcony itself was erected in the reign of Henry IV. and his son Louis XII. was bap-
tized over the entrance gateway of the court.

77

x

FONTAINEBLEAU, VERS LE JARDIN.

LA description de ce palais et de son voisinage est assez pour en faire un ouvrage
distinct. La grande foret dans laquelle il est situe contient vers 25,000 acres Anglais,
et couvre plusieurs collines et plaines ; quelques unes de celles-la sont bien boisees, et
tine grande fertilite paroit occasionnellement dans les vallees, mais des rochers noirs et
urides montrent leurs pointes au travers du feuillage, et des grands pierres isolees sont
tlispersees partout. V raiment la nature refrogne sou vent sur le voyageur ici d'une sorte
de grandeur sauvage, et elle offre un contraste tres pittoresque aux ouvrages et aux
triomphes de I* art, auquel il est introduit dans le palais.

Fontainebleau est une maison de chasse, et la foret abonde en gibier. On dit que
Louis XIV. y chassait frequemment avec une retenue de plus de 10,000 personnes. On
voit un grand nombre des paysans du voisinage, qui sont occupes, a couper et a trans-
porter le bois, par le moyens de la Seine, vers la capitale, qui tire aussi de cette foret de
beaux gr^s. Une des plus belles routes de France traverse cette for6t du N. au S., ou
de Paris a Lyons. Ce fut sur cette route que Napoleon, ayant couche au palais la nuit
du 19, s'avanc.a vers Paris a midi de 20 Mars, 1815, " et il avan§a seul." Les troupes,
sous le Marechal Macdonald, etaient campees sur une eminence sur la foret du cote de
Paris, ecoutant avec un plaisir apparent au Vive Henri Quatre, et autres expressions
loyales, lorsqu' on apper§ut soudainement une voiture sans suite venant au grand galop
au travers le bois. " Une petite troupe de lanciers Polonais," dit un biographe popu-
laire, " avec leur lances renversee, suivit 1' equipage. Le petit chapeau plat et retrousse
— le surtout gris — la personne de Napoleon fut reconnu. A 1' instant les soldats sor-
tirent des rangs et 1' entouraient en criant Vive 1' Empereur, et foulerant aux pieds
traitreusement dans la pousiere leurs cocardes blanches."

La vue ci joint a ete prise du jardin au S. W. du palais, vis-a-vis la Place
d'Armes.

FONTAINEBLEAU. COUR D'HONNEUR.

LA Cour d' Honneur a ete appelle Cour du Donjon et Cour Ovale. C'est une des
quartiers la plus ancienne du palais. Les deux tiers des batiments qui 1' environnent
communiqucnt en dehors par un balcon qui supportent quarante-cinq colonnes de gres,
tlont tous les chapiteaux sont composes et sculptes sur des dessins differents, dans le
style du siezeme siecle. Ce balcon fut fait sous le regne de Henri IV. et son fils Louis
XII. fut baptise au dessus de I1 entree de la cour.

78

.

A Pugm Jun'del*

FOKTAINSBUSATU. TERS ZL.2 JA^I

, COIJH B'HONNEUR.

Ktlxrt Jen-usiyt . Unitary. Gtubt

CHURCH OF ST. GERMAIN L' AUXERROIS.

THE founder of this church was king Childebert, of whom and of his queen the
statues in the porch have survived the destruction of most others during the Revolution.
It was built in 606, and was for a long period the only parochial church in the northern
part of Paris. Being destroyed by the Normans, king Robert rebuilt it in the beginning
of the 1 1th century ; and during the occupation of Paris by the English, in 1423, it
was a favorite edifice with them, and liberally repaired and beautified. It seems to
have been both collegiate and parochial, and had a chapter composed of a dean, chanter,
twelve canons, and twelve chaplains, besides vicars and other officers.

The Rue de Fosses, in this neighbourhood, is so named from the wide ditches which
formerly surrounded this church. Its Gothic portal, by Perrault and Le Brun, has been
much admired.

St. Germain 1' Auxerrois having been formerly the parish church of the numerous
French artists who lived near the Louvre (as well as that of the Thuilleries), they prided
themselves in embellishing it ; and it contained some fine specimens of the taste and
genius of Jouvenet, Louis Boulogne, Coypel, Coysevoix, Warin, &c., but these were all
carried off at the Revolution. A small collection of good pictures has however been
since made, and a grand canopy is shown which was the gift of Louis XVIII. to the
church.

Here were interred the poets Malherbe, Madame Dacier and her husband ; the
painters Stella and Coypel, Coysevoix and Caylus.

The bell of this church gave the signal for the infamous massacre of the Protestants
on St. Bartholomew's day. The pulpit is distinguished as that from which Bourdaloue
and Massillon delighted the court of Louis XIV.

THEATRE DE LA PORTE ST. MARTIN.

THIS was first opened, 25th of October, 1781, as an Opera House, under the pa-
tronage of the court, when a gratuitous representation was given in honor of the birth
of the Dauphin. Being afterwards thought too remote from the court, the Opera, in
1793, was removed to the Theatre des Arts, and this house was closed.

During the Revolution it was frequently used for public meetings and the sittings
of Courts Martial. In 1802 it was newly fitted up and decorated for melo-dramas ; being
again closed, it was re-opened in 1810 under the title of Salle des Jeunes Gymniques.
Finally, it was repaired and embellished as it now is at the close of 1814. The interior
is considered very elegant.

79

EGLISE DE ST. GERMAIN L AUXERROIS.

CETTE eglise fut fondee par le roi Childebert, dout la statue et celle de sa reine
ont survecut a la destruction de la plupart des autres pendant la Revolution. Elle fut
batie 606, et durant long temps ce fut la seule eglise parbissiale de la partie Septentri-
onale de Paris. Ayant ete destruite par les Normands, le roi la fit rebatir au com-
mencement du Xlme siecle ; et durant la possession de Paris par les Anglais en 1423, ce
fut leur edifice favorite et ils la firent liberalement reparer et embellir. Elle paroit avoir
ete tous les deux collegiale et paroissiale, et avait un chapitre compose d' un, doyen
d' un chantre, de douze canons, et de douze chapelains, en outre des vicaires et outres
officiers. La rue des Fosses dans ce voisinage est ainsi nomme d' apres les grandes fosses
qui £ntouraient autrefois cette eglise. Le portique Gothique par Perrault et Le Brun
a ete beaucoup admire. St. Germain 1' Auxerrois ayant ete autrefois 1' eglise paroissiale
des nombreux artistes Frangais qui demuraient pres du Louvre, ils se piquerent de
1' embellir ; et elle contient des modeles du gout et du geuie de Jouvenet, Louis Bou
logne, Coypel, Coysevoix, Warin; mais ils ont ete tous enleves pendant la Revolution.
Cependant on a fait depuis une petite collection de superbes tableaux et il y a aussi un
riche dais qui fut presente par Louis XVIII. a cette eglise. Ici sont enterres le poete
Malherbe, Madame Dacier, et son mari, les peintres Stella, Coypel, Coysevoix et Caylis.
La cloche de cette eglise donna le signal pour le massacre inhumain des Protestans
le jour de la St. Barthelemi. La chaire est distinguee comme celle d' ou Bourdaloue et
Massillon delire la cour de Louis XIV.

THEATRE DE LA PORTE ST. MARTIN.

CE theatre fut ouvert la premiere fois le 25 Octobre, 1781, comme Opera, sous le
patronage de la cour, lorsq'une representation gratuite fut donnee en 1' honneur de
la nativite du Dauphin ; apres quoi le considerant trop eloigne de la cour, 1' Opera fut
transferes au Theatre des Arts, et cette edifice fut ferme. Pendant la Revolution il fut
souvent occupe par les assemblies publiques et pour les seances des conseils de guerre.
En 1802 il fut repare et decore pour les melo-drames ; ayant ete ferme une seconde fois
il fut reouvert en 1810, sous le titre de la Salle des Jeunes Gymniques. Enfin il fut re-
pare et embelli comme on le voit a present a la fin de 1814. On en considere 1' interieur
comme tres elegant.

80

';;s .

EGL1SB DE S?&ERMAITT LAUXERROIS .

THEATRE ME LA PORTE STMARTIN.
,

Hedaway sc

FONTA1NEBLEAU, PORTE DOREE.

THIS ancient gateway conducts the stranger (as he is generally taken through the
palace) from the Cour de la Fontaine, which we have described in an early part of this
work, to the Cour d' Honneur, or Cour Ovale.

It derives its name from the abundance of gilt ornaments with which it was formerly
decorated, and was long the chief entrance to the palace : the pavilion over the arch of
entrance consists of seven distinct stories, which together make a magnificent appear-
ance. On the right is a remarkable staircase of 131 steps: two pilasters, which adorn
the sides, have Composite capitals, and volutes of a very striking and masculine
character. Three other pilasters, which divide the gate in two, are also of singular work-
manship, but considerably mutilated. Two small statues, placed on brackets, and an
ancient tablet, supporting some female figures, are also worthy the particular attention
of the curious in architecture. A bust of Francis I., and a salamander said to have been
formed by him, were removed from this spot during the Revolution.

ENTRANCE TO THE PRINCIPAL APARTMENTS OF THE

COUR D'HONNEUR.

THESE apartments are on the ground and first floors of this ancient court. To the
latter there formerly led a double staircase, rising from a magnificent portico and arcades.
It gave place in 1758 to two distinct staircases, called L' Escalier du Roi and L' Escalier
de la Reine. By the former visitants are ordinarily conducted to all the principal parts
of the palace.

On the ground floor is also the remarkable old chapel, erected by Francis L, on the
foundations of that of Louis VII., constructed in the year 1169, and dedicated to the
Virgin and St. Saturnin (whose names the chapel still bears), by Thomas a Becket, of
Canterbury. This was the last church or chapel at whose consecration that prelate
officiated. The grand altar was erected by Henry II., and many of the French monarchs
have contributed to the decorations of the chapel.

In a future number we shall offer a description of each of these apartments, and
their principal ornaments.

81

FONTAINEBLEAU, PORTE DOREE.

C'EST ordinairement par cette ancienne porte qu' on conduit les Strangers, de la
Cour de la Fontaine, dont nous avons deja parle, a la Cour d' Honneur, ou Cour Ovale.

Elle derive son nom des ornemens doree dont elle etait anciennement decoree, et
elle fut long temps la grande entree au palais ; le pavilion au dessus de la voute
d' entree est c6mpos6 de sept etages distincts, dont le tout ensemble a une apparance
magnifique. A droite est un escalier remarquable de 131 marches, deux pilastres, qui
ornent les cotes, ont des chapitres de 1' ordre Compose, et des volutes d' une architecture
tres imposante. Trois autres pilastres qui partagent la porte, sont aussi d' un ouvrage
curieux, mais beaucoup mutiles. Deux petites statues posees sur des consoles, et une
table saillante soutenant des cariatides ; meritent 1" attention des personnes curieuses en
architecture. Un buste de Fran§ois I., et une Salamandre qu' on dit avoir ete dessine
par lui-meme, furent enleves pendant la Revolution.

ENTREE AUX PRINCIPAUX APARTEMENS COUR

D' HONNEUR.

CES apartemens sont au premier etage, et au rez de chaussee de cette ancienne
cour. II y' avait autrefois un double escalier, construit sous un portique magnifique
avec arcades; il a ete remplace, en 1758, par deux escaliers separes, nommes 1' Escalier
du Roi et 1' Escalier de la Reine. C'est ordinairement par 1' Escalier du Roi qu' on
introduit les personnes qui veulent voir 1' int^rieur du palais. Au rez de chaussee est-
aussi 1' ancienne chapelle, erigee par Frangois I., sur les fondations de celle de Louis
VII., construite en 1169, et dediee a la Vie>ge et a St. Saturnin (dont la chapelle
actuelle porte le nom), par Thomas a Becket, de Canterbury. Ce fut la derniere eglise
ou chapelle a la consecration de la quelle ce prelat ofticia. Le grand autel fut erige par
Henri II., et plusieurs rois de France ont contribue aux decorations de la chapelle.
Dans la suite de nos num6ros nous decrirons chacun de ces apartemens, et leurs prin-
cipaux ornemens,

82

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PRISON OF THE ABBEY OF ST. GERMAIN.

THIS, as the inscription on the portico intimates, is now used wholly as a military
prison. It formerly belonged to the abbey of St. Germain-des-Pres, which had an ex-
tensive independent jurisdiction, a prison of its own, and a champ clos, where the trial by
single combat often took place. The principal dungeon, which is still to be seen, is a
sufficient monument of the terrible power of its ancient masters. It is about 30 feet
below the ground, but so low that a man of middle stature cannot stand upright in it,
and the floor is constantly covered with water.

The celebrated massacre of the 2nd of September, 1792, took place near the gates
of this prison. A mock tribunal was constituted at the wickets, and, as the prisoners
were separately brought out, those who had been confined for debt were released, but
all those persons who had belonged to the court were delivered over to the blood-thirsty
mob, and sacrificed amid shouts of Vive la Nation.

GRAND STAIRCASE OF THE PALACE OF JUSTICE.

A GENERAL description of the Palais de Justice will be found connected with the
larger views of it given in this work.

This staircase conducts to the grand hall, called the Hall des Pas Perdus. It con-
sists of two immense parallel naves, arched with stone and separated by a range of
arcades : the light is received from enormous windows at the extremities, giving to this
remarkable passage a sombre but imposing appearance. The architecture, both of the
staircase and the hall, is of a very plain and solid character.

83

PRISON DE L' ABBAYE DE St. GERMAIN.

CE bailment comme 1' indique 1' inscription audessus du portique est a present em-
ploye pour une prison militaire.

II appartenait autrefois a 1' Abbaye de St. Germain des Pres, qni avait une juridiction
grande et independante, une prison, et un champ clos, on il se donnait des combats par-
ticuliers pour terminer des proces. L' oubliette principale, qu'on peut encore voir, est un
monument qui s'accorde bien avec le pouvoir tyranique de son ancien maitre.

Le terrible massacre du 2 Septembre, 1792, cut lieu pres des portes de cette prison.
Un faux tribunal fut constitue aux guichets, et comme les prisonniers etaient amenes
separement : ceux qui avaient et6 detenus pour debtes etaient mis en liberte ; mais
toutes les personnes qui avaient appartenu a la cour etaient abandonnes a la furie d' une
vile canaille avide de repandre le sang humain, et elles etoient sacrifices au milieu des
cris de Vive la Nation.

L' ESCALIER DE PALAIS DE JUSTICE.

UNF. description generale du Palais de Justice sera jointe aux plus grandes vues que
nous donnerons dans cet ouvrage.

Get escalier conduit a la grand salle appelee la Salle des Pas Perdus. II est com-
pose de deux immenses nefs paralleles en voute de pierre et separees par un rang d'arcades.
II est eclaire par de grandes ouvertures cintr^es et vitrees aux extremites de chaque nef
qui donne a ce passage remarquable une apparance sombre, mais imposante. L' architecture
de 1' escalier et de la salle est d' un style simple et solide.

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VERSAILLES. L' OPERA.

THIS is another of the erections of this vicinity, after the plans of Gabriel, archi-
tect to Louis XV. It was commenced in 1753, but not finished until the year 1770 (by
Leroi), and first opened to celebrate the marriage of the unfortunate Louis XVI. and
Marie Antoinette.

Of the original splendid interior an adequate idea can now hardly be formed ; so
much has this celebrated theatre suffered from the Revolution.

The plan of the great hall is elliptical, being 72 feet long by 60 feet broad and 51
feet high. On occasion of extraordinary fetes it has been used as a ball room. The
whole of the building is 162 feet in length by 90 in width, and its entire height 120
feet. The timber work of "the roof has been considered a master-piece of architecture.

THE CHAPEL OF THE PALACE OF VERSAILLES.

THE Chapel of the Palace of Versailles was the last architectural effort of Man-
sard, being finished in 1710, only two years before his death. It was begun in 1699.
The basement of the exterior is of the Corinthian order, surmounted by an attic story.
On the pediment of the balustrade are figures .of the apostles and fathers of the church
9 feet in height.

The interior is also of the Corinthian order. Twelve fluted pillars support the dome,
between which are gilded bronze balustrades, supported by grey marble. The grand
altar is formed entirely of the most beautiful marble, and decorated with a Glory, around
which angels appear in the act "of adoration. The arcades of the nave, the bas-
reliefs, and other ornaments are exquisitely finished : all the bronze work is heightened
with or-molu. The paintings of the arches are by Jean Jouvenet, Coypel, and Charles
de la Fosse. The chapel of the Virgin, which entirely escaped the Revolutionary out-
rages, was ornamented by the two Bolognas. In this chapel service is performed every
Sunday at noon.

85

VERSAILLES. L' OPERA.

LE theatre est un autre edifice de ce voisinage, erige d'apres les dessins de Gabriel,
architecte de Louis XV. II fut commence en 1753, mais il ne fut acheve qu'en 1770,
sous la conduite de Leroi ; et on en fit 1' ouverture a 1' occasion des fetes donnees au
mariage de Louis XVI. et de Marie Antoinette.

L' interieur de ce theatre ayant pendant la Revolution beaucoup souffert, on ne peut
donner une description exacte de ses premieres decorations. Le plan de la grande
salle est un ellipse, qui a 72 pieds de longueur sur 60 de largeur ; et la hauteur en est de
51 pieds. A 1' occasion des fetes extraordinaires on a fait de ce theatre une salle de bal.
L' ensemble du batiment a 162 pieds de longueur sur 90 de largeur ; et la hauteur en est
de 120 pieds. On regarde la charpente ducomble comme un chef-d'oeuvre d'architecture.

CHAPELLE DU CHATEAU DE VERSAILLES.

LA Chapelle du Chateau de Versailles, achevee en 1710, deux ans avant la mort de
Mansard, est le dernier ouvrage qu'il nous ait laisse. Elle fut commencee en 1699. Le
soubassement de 1' exterieur est de 1' ordre Corinthien, surmonte d'un attique. Sur les
piedestaux de la balustrade sont des statues de neuf pieds de hauteur, representant les
apotres et les peres de 1' eglise. L' interieur est aussi de 1' ordre Corinthien : douze
colonnes cannelees soutiennent la voute entre lesquelles sont des balustrades de bronze,
avec des apuis de marbre gris. Le grand autel, compose entierement du plus beau
marbre, est decore d'une Gloire, et sur les cotes sont des anges adorateurs. Les arcades
de la nef, les bas-reliefs et les autres ornemens sont parfaitement executes. Les peintures
de la voute sont de Jean Jouvenet, de Coypel, et de Charles la Fosse. La Chapelle de
la Vierge, qui aechappe aux degats de la Revolution, a ete ornee par les deux Boulognes.
On dit, dans cette chapelle, la Messe tous les dimanches a midi.

86

"
t

'

la mort de

YEHSAILIJES. L'OFEHA, VF.RS LK RESERVOIR.

CHAPELLE I)U PALAIS DE VERSAILLES.

-•-•

LoTiden Robtrl Jennings, fsut&y. Nwemtw > '839.

BARRIERE DE LA CUNETTE.

THIS is one of the western barriers of Paris, and is situated between those of Passy
and Grenelle, on the opposite side of the Seine to the former, but rather lower down
the river : the distance between them is 300 metres or 154 toises, French. In this part
of the river, as at the eastern extremity of the metropolis, a boat, called patache, is
stationed to collect the duties due upon goods entering the capital by water.

All the barriers which at present environ Paris are modern erections ; and were
chiefly designed by Le Doux, under the direction of M. Colonne, who conceived that a
number of elegant edifices of this kind, while subservient to the collection of the
revenue, would impress strangers with the magnificence of the nation. They were
buildings, however, by no means favorably regarded by the people, and have been more
than once set on fire. They are inhabited by the collectors of the Customs.

THE OBSERVATORY.

This imposing structure, built entirely of stone, and vaulted throughout, was
erected by Claude Perrault, under the auspices of the great Colbert, between the years
1667 and 1672. The celebrated astronomer Cassini (of whom there is a marble statue
in the hall) was sent for from Bologna to be consulted in its construction. It occupies
the extremity of an avenue leading from the gardens of the Luxembourg, between the
Rue de Faubourg Saint Jacques and the Rue d' Enfer.

The principal building is a parallelogram of 90 feet by 82, having two octagonal
towers at the two southern angles, and on the north side a projection, which forms the
grand entrance. This building stands due north and south : the great hall containing a
meridional line, from which the French astronomers calculate the longitude. An obelisk
at Montmartre, distant about 3^ miles, marks its further direction, and its prolongation
from Dunkirk to Barcelona was made use of to measure the arch of the meridian from
which the metre, or standard of long measure in France, was calculated. On the
summit of the edifice is an anemometer ; and every part of it is occupied with charts or
instruments connected with astronomical science. On the floor of one of the apartments
is a curious universal chart, delineated by Chazellas and Sedileau.

A smaller building to the east has, however, of late been the one principally used
for astronomical and meteorological observations. " The grand building," says Dulaure,
" is the type of certain dignitaries who serve only for show ; the smaller building,
humble and almost unperceived, is the only one truly useful."

Below the whole, and communicating by a geometrical staircase with the first floor,
is a well 1 70 feet deep, constructed originally for measuring the acceleration of falling
bodies, and for the observation of the heavenly bodies in the day time : the corresponding
openings in the floors and roof of the Observatory have been closed since the adaptation
of telescopes to the latter purpose. A number of intricate caverns and passages, which
have been used for experiments in congelation, &c., are also connected with this well.

The Bureau des Longitudes has its meetings at the Observatory, and the whole
establishment, with its apparatus, is placed under its charge. Three astronomers
are generally resident on the spot.

88

BARRIERE DE LA CUNETTE.

C'EST une des Barrieres occidentals de Paris : elle est situee entre celles de Passy
et de Crenelle, sur la rive de la Seine de 1' autre cote que celle de Passy, et un peu plus
1ms ; elle en est eloignee de 300 metres ou 154 toises. Au milieu de la largeur de la
Seine est fixe un grand bateau, appele patache, sur lequel sont etablis des bureaux
pour la recette des droits d' entree ; il en est de m«5me a 1' autre extremite de Paris.
Toutes les barrieres qui a present environnent la capitale sont d' une construction moderne,
et furent dessinees par M. Le Doux, sous la direction de M. Calonne, qui concut que des
edifices elegans de cette sorte, tout en servant a la perception du revenu, inspireraient
aux etrangers une grande idee de la magnificence de la nation. Le peuple ne vit ce-
pendant pas ces edifices avec plaisir, et ils furent plus d' une fois incendies. Us servent
de demeures aux percepteurs des contributions.

L' OBSERVATOIRE.

GET edifice imposant, construit entierement en pierre, voute tout au travers, fut
dessine par Claude Perault, sous les auspices du ministre Colbert, entre les annees 1667
et 1672. On fit venir de Bologne la celebre astronome Cassini (dont on voit une statue
en marbre dans la grande salle), afin de le consulter sur la construction de ce batirnent.
U est situ6 a 1' extremite meridionale de la grande avenue qui s' etend des jardins du
Luxembourg, entre la Rue du Faubourg St. Jaques, et la Rue d' Enfer.

Le batirnent principal est un parallelogramme de 90 pieds de longueur sur 82 de
largeur, ayant aux angles de la face meridionale deux pavilions octogones, et du cote
du nord un avant corps ou se trouve la porte d' entree. Ce batirnent s' etend exacte-
ment du nord au midi, et la grande salle contient une ligne meridienne dont les astronomes
Fran§ais se servent pour compter la longitude. Un obelisque place a Montmartre, a peu
pres a trois miles et demi de 1' Observatoire, indique sa direction la plus eloignee, et on
s' est servi de sa prolongation, de Dunkerque a Barcelone, pour mesurer 1' arc du meri-
dien d' oft 1' on a calcule le metre qui sert de mesnre en France.

An haut de cet edifice est un anemometre ; et tous les appartemens sont occupes par
des cartes ou des instrumens pour les experiences astronomiques. Sur le plancher d' un
des appartemens est une carte universelle, tracee par Chazellas et Sedileau.

C'est cependant d' un petit batiment a 1' est qu'on a fait dernierement les observations
astronomiques et meterologiques. " Le grand batiment" (dit Dulaure), " est 1' image
de certains dignitaires qui ne servent qu' a la representation ; le petit batiment, humble
et presque inapergu, est le seul vraiment utile."

Au dessous du batiment est une voute qui a 170 pieds de profondeur, et qui com-
munique au premiere etage, par un escaliev geometrique construit, autrefois pour faire
des experiences sur la chute des corps et leur gravite respective, et pour 1' observation
des corps celestes pendant le jour. Les ouvertures dans les planchers et sur les toits
ont etc bouchees depuis 1' adaptation des telescopes de 1' Observatoire a ce dernier usage.
Un nombre de passages obscurs, qui avaient etc employes pour les observations sur la
congelation, &.C., aboutissent aussi a cette voute.

C'est a 1' Observatoire que le Bureau des Longitudes tient ses seances, et 1' etablis-
sement est confie & ses soins. Trois astronomes y demeurent ordinairement.
88

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Latvian. Robert JmtJAft^^uJDy November. I

INTERIOR OF THE CHAPEL OF VAL DE GRACE.

THIS was originally the church of the royal abbey of the Val de Grace, all the
buildings of which have long been used as a military hospital ; the church forming a kind
of central magazine.

Early in the seventeenth century this religious foundation was taken under the
especial patronage of Anne of Austria, the queen of Louis XIII., who, having been
married twenty-two years without having children, vowed to build a church here on the
birth of a son. Her wishes being realized, Louis XIV. laid the foundation of this edifice,
with great pomp, in April 1645, when only seven years old.

The celebrated Jean Mansard furnished the original designs, but being displaced by
the intrigues of inferior artists, his plans were but partially executed, and he is said to
have completed them on a small scale in the chapel of the Chateau de Fresnes.

The interior of this church, which, with its crowded ornaments, has been little in-
jured, is composed of a nave separated from the lower sides by arcades and fluted
Corinthian columns : all the sculptures are by Francis Angueir. The dome, which, next
to those of the Pantheon and the Invalides, is the most elevated in Paris, has its interior
adorned with an extensive representation, by Mignard, of the abodes of the blessed.
They are said to contain upwards of 200 colossal figures : Moliere celebrates this per-
formance in a poem written expressly in honor of it. The great altar is crowned with a
magnificent canopy, supported by six Composite columns of black marble, the bases and
capitals of which are or gilt bronze. To this church was given the privilege of receiving
the hearts of all the royal family of France ; and prior to the Revolution twenty-six had
been deposited here.

INTERIOR OF NOTRE DAME.

THE general plan of the interior of Notre Dame presents a nave, a choir, and double
range of lower sides, divided by 120 noble pillars (already mentioned), which support
the roof and its various ornaments. The appellation, La Foret, has been given to the
roof, from the vast number of distinct pieces of chestnut-tree of which it is composed.
The gallery which surrounds the nave, the choir, and the sides of the church, is sup-
ported by 108 smaller pillars. The whole church contains 113 windows, exclusive of
the three grand " roses" which adorn the principal fagade and the two sides. Forty-five
ancient chapels surround Notre Dame, forming the ramparts, to use the expression of a
French writer, of the entire edifice.

Of these thirty remain in good condition. That of St. Genevieve is adorned with
some curious wainscotting, which formerly belonged to the hall of the chapter of Notre
Dame; and represents the Apostles and Fathers of the Church, separated by tasteful
pilasters. On the side of the cloister under the tower is a stone tablet of the sixteenth
century, which represents in very bold sculpture the supposed proceedings of the Day
of Judgment.

The modern chapel of the Virgin has a fine statue by Raggi, and a noble monument
to Belloy, archbishop of Paris, who died in 1806.

One of these chapels contains the celebrated tomb of Claude, Count Harcourt, by
Pigalle, which consists of four colossal marble figures. The deceased is seen in the
strange position of stretching his arms toward his consort through a half-opened tomb ;
while Death, inexorable, exhibits an hour-glass, indicating that the moment of their se-
paration is come, and the genius who opened the tomb appears extinguishing his torch.

Another of these chapels is called la Chapelle Noire, or du Damne, from the fol-
lowing circumstance, which is said to have been the means of the conversion of St. Bruno,
founder of the Carthusians : — While the service of the dead was performing for Raymond
Diocre, a celebrated preacher of this church, as the words " Responde mihi" were
pronounced he raised his head from the coffin, and exclaimed, ' Justo Deo judicio accu-
satus sum.' The alarmed clergy discontinued the service, but, resuming it the next day,
he again raised himself, and said, 'Justo Dei judice judicatus sum:' and, on a third at-
tempt, fairly avowed ' Jam damnatus sum !' This story is the subject of a fine series of
paintings by Lesueur, now in the Louvre.
89 2 A

INTERIEUR DE LA CHAPELLE DU VAL DE GRACE.

CETTE chapelle etait autrefois 1' eglise de 1' Abbaye Royale du Val de Grace, dont
tous les batimens ont etc convertis en un hopital militaire et 1' eglise en magazin central.

Au commencement du 17me siecle cette etablissement religieux fut favorise par
Anne d' Autriche, reine de Louis XIII., qui apres vingt-deux ans de manage, et etant
sans enfans, fit voeu de faire batir ici une eglise lors de la naissance d' un fils. Ses desirs
etant realises Louis XIV. posa avec grande ceremonie la premiere pierre de cet edifice
te ler Avril, 1645, quand il n' avait encore que sept ans.

Le celebre Francois Mansard fournitles premiers dessins,mais ayant ete deplace par
les intrigues des artistes inferieurs, ses dessins ne furent executes qu' en partie, et on dit
qu' il les accomplit en petite proportion dans la chapelle du Chateau de Fresnes.

L' interieur de cette eglise qui avec ses ornemens nombreux n' a pas beaucoup
souffert est compose d' une nef, separee des bas cotes par des arcades et des pilastres,
Corinthiens canneles, toutes les sculptures sont de Francois Augueir. Le dome qui
qui apres ceux du Pantheon et des Invalides est le plus eleve dans Paris, est orne dans
P interieur d' une representation du sejour des bienheureux, contenant plus de 200 figures.
Moliere a compose un poeme pour en exalter la gloire. Le grand autel est couronne par
un dais magnifique, support^ par six colonnes de marbre noir, de 1' ordre Composite dont
les bases et les chapitres sont de bronze dore. A cette eglise fut accordee le droit de
recevoir les couurs de la famille royale de France, et avant la Revolution vingt-six y
avaient ete places.

INTERTEUR DE L' EGLISE DE NOTRE DAME.

LE plan general de 1' interieur de Notre Dame presente une nef, un chceur, et un
double rang de bas cotes divises par 120 grands piliers (dont on a deja parlc), qui suppor-
tent la voiite et ses differens ornemens. La charpente du comble a ete appelee la Foret,
a cause du grand nombre de pieces de bois de chataigne dont elle est composee. La
galerie qui entoure la nef, le chceur, et les cotes de 1' eglise est supportee par 108 petites
colonnes. Toute 1' eglise est eclairee par 113 vitraux, sans compter les trois grandes
roses qui ornent la fa£ade principale, et les deux faces laterales. Quarante-cinq anci-
ennes chapelles entouraient et servaient comme de rempart a cet edifice.

De ces chapelles 30 sont encore en bonne condition. Celle de St. Genevieve est
ornee de curieuse boiserie qui autrefois appartenait a la salle du chapitre de Notre
Dame, et qui represente les Apotres, et les Peres de 1' Eglise, separes par de fort
jolis pilastres. Du cote du cloitre, sous la tour, est une tablette en pierre du 16me
siecle, representant d' une sculpture hardie, ce qu' on suppose se passer au Jour de Juge-
ment.

La chapelle moderne de la Vierge contient une belle statue par Raggi, et un monu-
ment a Belloy archeveque de Paris, qui mourut en 1806. Une de ces chapelles contient
la tombe celebre de Claude de compte d' Harcourt par Pigalle, qui est composee de quatre
figures colossales en marbre. On y voit le defunt dans la position denaturee de tendre les
bras vers son epouse, au travers d' une tombe a moitie ouverte, pendant que la mort in-
flexible annonce, en montrant son sablier, que le temps de leur separation est arrive ; et
le g^nie qui a ouvert le tombeau parait eteindre son flambeau.

Une autre de ces chapelles est appelee la chapelle Noire ou du Damne, a cause de
la circonstance suivante qu' on dit avoir convert! St. Bruno, fondateur des Carthusiens.
Pendant qu' on disait le service des morts pour Raymond Diocre, predicateur celebre
de cette eglise lorsque les mots,' Responde mihi,' furent prononces il leva la tote hors du
cercueil et s' ecria, Justo Dei accusatus sum, Le clerge alarme discontinua le service,
mais le recommencant le jour suivant, il se leva de nouveau, et dit Justo Dei judice judi-
catus sum ; et lors de la troisieme fois il dit clairement, Jam damnatus sum. Ce conte est
le sujet d' une suite de beaux tableaux par Lesueur, qu' on voiit maintenant au Louvre.

90

ar, e.t ua

FONTAINEBLEAU. COUR DES CUISINES.

THIS court, next in size to the Cour du Cheval Blanc, is situated on the opposite
extremity of the palace, to which it forms one of the principal entrances. It is ap-
proached on the side of the town of Fontainebleau by the Place d' Armes, through a
noble portal, already described,* and which assigns the erection of the court to
Henry IV. The kitchens and offices offer many interesting specimens of the style of
that age.

On the right (as the visitant enters the courts by the above gate), appears the Porte
Dauphin, which traverses the ancient fosse of the chateau, and by which this court com-
municates with the Cour d' Honneur. On the side of the Cour des Cuisines it has four
rustic Tuscan columns, and two remarkable colossal statues of white marble.

FONTAINEBLEAU. COUR D' HONNEUR.

THE principal apartments of this palace occupy the first floor of the Cour d' Hon-
neur and that which overlooks the Orangerie.

In describing this court we have already noticed the ancient chapel, or Chapelle
basse, which distinguishes the ground floor, as well as the grand staircase, or Escalier
du Roi, by which visitants are ordinarily conducted to the principal apartments of the
chateau. These extend on the 'one side to the Gallery of Diana (which ranges between
the Orangerie and the Cour des Princes), and on the other to the Salle de Spectacle
and the Library. As well as by the staircase already noticed, there is a grand entrance
to these apartments from the gallery of Francis I.

The great ornaments of this court are the gallery Des Cent Suisses (called also the
Salle de Bal), and the Chapelle Haute now used as a library, and constructed over the
Chapelle Basse. The Salle de Bal has been considered as, on the whole, the most inter-
esting apartment in the palace.

It was constructed by Sebastian Serlio, in the reign of Francis I., who seems to
have intended that the arcades should have been open after the manner of many of the
Italian galleries, but this was overruled, and they were glazed. Its general proportions
and the dimensions of these openings are however very noble and striking ; the designs
on the ceilings are also much admired for their richness and accuracy, and the chimney
and orchestra deserve attention. The paintings are chiefly from the pencils of Primatice,
Nicolo, and Toussaint Dubreil.

This gallery communicates with the Chapelle Haute or Library, also erected in the
reign of Francis I.; its gallery in that of Henry II.; but the principal ornaments were
added by Henry IV. The roof, wholly of stone, is a chef d' ceuvre of the architect
(Serlio), who is said to have been himself astonished, as it was proceeding, at the bold-
ness of his own design. It is ornamented in the interior by two rows of cherubim,
roses, and the ciphers in gold of Henry IV. and Marie de Medici. The library now de-
posited here is said to be richer both in books and manuscripts than any other belonging
to the royal palaces.

* See Fontainebleau. Place d' Armes.
91

FONTAINEBLEAU. COUR DES CUISINES.

CETTE cour, qui est la plus grande apres celle du Cheval Blanc, est situ^e a 1' ex-
tremite opposee du palais, dont elle forme une des grandes entrees. On y arrive du c6te
de la ville de Fontainebleau par la Place d' Armes sous un portail majesteux que nous
avous deja decrit, et qui porte une inscription indiquant Henri IV. comme son fondateur.
Les cuisines et les offices offrent plusieurs modeles interessans du genre d' architecture
de ce siecle.

En entrant la cour par ce portail, on voit a sa droite la Porte Dauphine qui traverse
1' ancien fosse du chateau, et par laquelle cette cour communique avec la Cour d' Hon-
neur. Au cote de la Cour des Cuisines se trouvent quatre colonnes rustiques Toscanes
et deux statues colossales de marbre blanc, qui sont tres remarquables.

FONTAINEBLEAU. COUR D' HONNEUR.

LES principaux appartemens de ce palais occupent le premier 6tage de la Cour
d'Honneur, et de celle qui est vis-a-vis de 1' Orangerie. Nous avons deja parle dans la
description de cette cour de 1' ancienne chapelle, ou Chapelle Basse, au rez de chaussee,
et aussi du grand escalier ou escalier du Roi, que doivent monter les personnes qui
veulent voir 1' interieur du chateau. Ces escaliers se rattachent d' un cote a la galerie
de Diane, qui regne entre 1' Orangerie et la Cour des Princes, et de 1' autre a la salle de
spectacle et a la Bibliotheque.

II y a aussi une autre grande entree a ces appartemens, de la grande galerie de
Francois I. Les principaux ornemens de cette cour sont, la Galerie des cent Suisses, qu'on
appelle aussi, la Salle de Bal, et la Chapelle Haute, qui sert a present de Bibliotheque,
et qui est construite audessus de la Chapelle Basse. On consid^re la Salle de Bal
comme 1' appartement le plus interessant du chateau. Elle fut construite (sous le
regne de Fran§ois I.) d'apres les dessins de Sebastien Serlio dont 1' intention etait pro-
baolement que les arcades seraient ouvertes, comme on en voit de nombreux exemples
dans les galeries Italiennes ; mais ce projet fut abandonne et elles furent vitrees. Les
belles proportions et la dimension de ces ouvertures sont cependant tres nobles et frap-
pantes. Les dessins du plafond sont aussi beaucoup admires pour leur richesse et leur
correction, et la cheminee et 1' orchestre en font un objet digne de 1' attention des
curieux.

Les peintures sont de Primatice de Nicolo et de Toussaint Dubreuil.

Cette galerie communique a la Chapelle Haute ou Bibliotheque, batie aussi sous
Francois I., sa galerie sous Henri II., mais ses principaux ornemens sont ceux de
Henri IV. La voute construite entierement en pierre est un chef-d'oeuvre de 1' architecte
Serlio, et on dit qu'il fut etonne lui meme de la hardiesse de son dessin. Cette chapelle
est ornee dans 1' interieur avec des cherubins des rosees et des chiffres en or de
Henri IV. et de Marie de Medicis. On dit que la bibliotheque qui est a present placee
dans cette chapelle est plus riche en livres et en manuscrits qu' aucune de celles qui
appartiennent aux maisons royales.

92

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FCNTAINEBiuEAU, CUITR l/'F^J'TJI'I

MONUMENT OF THE PERRIGAUX FAMILY, PERE LA

CHAISE.

THE partiality of the citizens of Paris for this cemetery is very evident. The most
respectable families of modern France are gradually selecting it for their last abode, and
on Sundays and All-Souls-day may be found in very interesting groups visiting the graves
of their relatives. Both males and females will be seen on these occasions repeating the
prayers for the dead, and scattering flowers on the hallowed spot. It is particularly
striking and instructive to observe the union in death of all professions of religion (in-
cluding even the Jews) " in that ground," as a French writer observes, " where a bigoted
Jesuit lived to meditate on plans of intolerance and persecution," and which, as we have
seen, was the reward of his bigotry and evil counsels.

Few of the tenants of these abodes have equal claims to the respect of the living
with those of the family whose monument is the principal subject of our plate — that of
M. Perrigaux (late partner with M. Lafitte) : none have been more distinguished for
their liberal use of the advantages of fortune.

CHAPELLE DE LA VIERGE, ST. SULPICE.

THE chapel of the Virgin is the most interesting of those belonging to the church
of St. Sulpice, and is situated at the end of the choir. The dome is painted in fresco by
Lemoine, and represents the Assumption of the Virgin. At the bottom is a niche jutting
out toward the Rue Garenciere, and supported by an abutment, which attracts the
attention of the curious in architecture. In this niche is a group, of which the principal
figures are the Virgin and the infant Jesus, on which the light is thrown with a beautiful
effect from above. From the altar, which is of white marble, rise some Composite co-
lumns of blue marble with gilt chapiters, supporting an entablature crowned by numerous
bronze figures. The whole of the interior decorations (which owe much to the taste of
Servandoni) was not finished until the year 1777.

93 2 B

MONUMENT DE LA FAMILLE PERRIGAUX, PERE LA

CHAISE.

LES bourgeois de Paris, ont pour ce Cimmetiere uii attachement tout particulier.
Les families les plus distinguees de la France choisissent, 1' une apres 1' autre, ce lieu de
sepulture pour leur derniere demeure ; et 1' on y voit tous les dimanches, et particuliere-
ment le jour desmorts, des groupes tres interessans, qui vont rendre visite aux tombeaux
de leurs parens. A ces occasions on voit des personnes des deux sexes qui repetent les
prieres des morts, et qui repandent en meme temps des fleurs dans ce lieu consacre. On
voit a la fois avec etonnement et avec plaisir, les depouilles mortelles de ceux qui
pendant leur vie professaient di verses religions (sans excepter les juifs), reunis dans le
meme lieu de sepulture, ou comme le dit un ecrivain Franc.ais, " un bigot jesuite, venait
autrefois mediter des plans d' intolerance et de persecution ;" et qui, comme nous
P avons vu, fut la recompense de sa bigotterie et de ses mauvais conseils.

Parmi les habitans de ces demeures il n' en est peut-etre aucun qui ait plus de
droit a notre respect, que la famille de celui dont le monument est le sujet principal de
la gravure ci-jointe ; et personne ne s' est plus distingue par ses grandes largesses, que
Monsieur de Perrigaux.

CHAPELLE DE LA VIERGE, ST. SULPICE.

LA Chapelle de la Vierge est la plus interessante de celles qui appartiennent a
1' eglise de St. Sulpice, elle est situee au fond du chceur. Le dome est peint a la fresque
par Le Moine, et represente 1' assomption de la vierge. Au bas est une niche qui avance
vers la rue Garenciere et qui est supportee par une borne, qui attire 1' attention des
curieux en architecture. Dans cette niche est un groupe, dont les figures principales
sont la vierge et 1' enfant Jesus, sur les quels la lumi^re qui se montre audessus a un
effet magnifique.

De 1' autel, qui est en marbre blanc, s' elevent des colonnes de 1' ordre Composite en
marbre bleu, a chapiteaux dores, soutenant un entablement surmonte de plusieurs figures
en bronze. Toutes les decorations interieures (dont nous sommes redevables au gout de
Servandoni), ne furent terminees que vers 1' annee 1777.

94

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TIMBRE ROYAL.

THE Timbre Royal, Hotel du Timbre, or Stamp Office, is chiefly of importance as
connected with a considerable branch of the public revenue. The average product of
the stamps issued from, or accounted for, at this office annually, is about four millions
and a half of francs ; of which one million and a half is for the public journals.

The building itself is very plain but impressive ; ornamented with a Doric entabla-
ture. It was erected on the site of a former convent of the Capuchins. The chief en-
trance is by the central gate exhibited in the plate ; and the office is open to the public
daily, from nine in the morning until four in the afternoon.

COUR DU MINISTRE DBS FINANCES.

GREAT plainness and respectability distinguish the architecture of this court. It
is surrounded by a series of open arcades, surmounted by a first floor, in which are all
the apartments devoted to important business : above this are two other stories, replete
with convenient residences, several of which are occupied by the superior clerks of this
department of the government, and a spacious attic.

The court is approached by a handsome entrance gateway from the Rue de Rivoli.
The whole was erected from the designs of M. Destailleur, architect du Roi, and is con-
sidered one of the finest modern public buildings of Paris.

95

TIMBRE ROYAL.

LE Timbre Royal, Hotel du Timbre (ou Bureau des Timbres), est en general d'une
grande importance, d'autant plus qu'il est en relation avec la branche la plus considerable
du revenu public. Le produit annuel des timbres circules se monte, 1' un dans 1' autre,
a environ, quatre millions et demi de francs ; dont un million et demi vient des journaux
publics.

Ce bailment tres simple est orne d'une entablature Dorique. 11 fut bati sur 1'em-
placement qu'occupait autrefois un ancien couvent des Capucins. La principale entree
est par la grande porte du milieu, representee dans la gravure ci-jointe ; et le bureau est
ouvert tous les jours depuis neuf heures du matin jusqu' a quatre heures apres midi.

COUR DU MINISTRE DES FINANCES.

L' architecture de cette cour se distingue par sa simplicite et son air imposant.
Elle est entouree de belles arcades surmontees d' un superbe etage, sur le quel sent tous
les appartemens employes pour les affaires d' importance. Audessus sont deux autres
etages remplis d' appartemens commodes, qui sont occupes par les premiere commis em-
ployes dans ce departement du gouvernement ; de plus il y a un grand attique. On
approche cette cour par une superbe entree qui donne sur la Rue de Rivoli. C' est
d'apres les dessins de M. Destailleur, architect* du roi, qu'a etc eleve ce batiment qu'on
regarde avec justice comme 1' un des plus beaux Edifices modernes de Paris.

96

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APugm ^ireaT

TIMBRE ROYAL ,

corn. DU MIOTSTB.E DES FINAJ-TCE:-:

HOSPICE DE LA SALTPETRIERE.

THE Hospice, or Hopital de la Salpetriere, called also the Hopital General, is
situated in the Rue Poliveau, and Boulevard de 1' Hopital, near the Jardin du Roi.

The establishment had its origin in the vast number of paupers and mendicants
which resorted to Paris in the minority of Louis XIV., and was commenced, after the
designs of Liberal Bruant, pursuant to a royal edict dated 27 April, 1656. It derived
its name from a large manufactory of saltpetre formerly situated here.

The entire buildings, with the courts and gardens, occupy an area of above 50,000
square toises ; they are constructed on no regular plan, the various parts having been
appropriated or added as necessity dictated. They are at present occupied entirely by
females, who are distributed into five grand sections, viz. 1. The reposantes, or women
who have become old in service. 2. The indigent blind, paralytic, infirm, and those 80
years of age and upwards. 3. Women of 70 years of age and upwards, infected per-
sons, cancerous and incurable cases. 4. The infirmary, separate from the other build-
ings, and containing 400 beds. 5. The insane and epileptic. In the centre is a prison
for females.

,' , . The church is built on a circular plan, 60 feet in diameter, and is surmounted by an
octagonal dome. In the interior are eight arcades, which communicate with four naves,
each 60 feet in length, and four chapels : the naves and chapels being disposed in radii
so as to open into the centre of the entire edifice where the high altar appears. Before
the Revolution 7000 or 8000 indigent females were frequently found in this establish-
ment : since that period they have been much diminished, and its management has been
improved.

PALAIS DE JUSTICE.

To the history of this palace we have already adverted. Until the year 1787 it
was completely obscured on the side of the Rue de la Barillerie, then one of the most
crooked and narrow avenues of Paris. But at that period all the contiguous buildings
were removed (including the celebrated house of Jean Chatel, the assassin of Henry IV.),
and a handsome circus erected on the site, opposite the new fa9ade of the palace.

This fagade was the joint work of the architects Moreau, Desmaisons, Couture, and
Antoine. It is adorned in the centre by four projecting Doric columns, above which is
a balustrade, surmounted by colossal statues of Power, Abundance, Justice, and Pru-
dence. A row of handsome arcades occupy the ground floor, and a kind of quadran-
gular dome crowns the central pavilion. On the right of the flight of steps in front is
the entrance to the prison of the Conciergerie, which stands in what was formerly the
garden of the palace.

The front of the court is entered by three noble iron gates, of which the middle one
(generally closed1) was formerly ornamented by an immense gilt globe.

97 2 c

L' HOSPICE DE LA SALPETRIERR

L' HOSPICE ou 1' Hopital de la Salp6triere, qui porte aussi le nom de 1' Hopital
General, est situe dans la Rue Poliveau et sur le Boulevard de 1' Hopital pres le Jardin
du Roi.

Cet etablissement fut fonde a cause du grand nombre de pauvres et de mendians
qui se rendirent a Paris pendant la minorite de Louis XIV. II fut commence d' apres
les dessins de Liberal Bruant comformement a un edit royal, date du 27 Avril 1656. II
tire son nom d'une grande manufacture de salpetre situee autrefois sur cet emplacement-
Les batimens, avec les cours et les jardins, occupent un espace de plus de 50,000 toises
carees ; ils ne sont point fondes sur un plan r^gulier, parce que les nombreux corps qui en
font partie ont etc ajoutes ou appropries suivant que le besoin en etait senti. Ils sont
ii present occupes entierement par des femmes, qui sont distributes en cinq grandes di-
visions, savoir: 1. Les reposantes, ou femmes qui ont vieilli dans le service. 2. Les
indigentes aveugles, paralitiques, infirmes, et octogenaires. 3. Les femmes septuage-
naires, les gateuses, les cancerees, et toutes les ' incurables. 4. L' infirmerie, contenant
400 lits, et dont le batiment est separe des autres. 5. Les alienees et les epileptiques.
Dans le centre est une maison de force pour les femmes. L' eglise est construite sur uu
plan circulaire, de 60 pieds de diametre, et est surmontee par un dome octagone ; 1'interieur
est perce par huit arcades, qui communiquent a quatre nefs, chacune de 60 pieds de
longueur, et a quatre chapelles. Ces nefs et ces chapelles disposees en rayons aboutissent
au centre de 1' eglise ou s'eleve 1' autel principal. Avant la Revolution on trouvait dans
cet hopital 7000 ou 8000 femmes indigentes ; mais depuis cet epoque le nombre en est
diminue, et on observe une grande amelioration dans la conduite de cet etablissement

PALAIS DE JUSTICE.

Nous avons deja parle de 1' histoire de ce palais. Jusqu'a 1' annee 1787 il fut en-
tierement obscurci du cote de la Rue de la Barillerie, alors une des avenues la plus tortueuse
ct la plus etroite de Paris; mais dans ce temps tous les batimens contigus y compris la
maison celebre de Jean Chatel, 1' assassin de Henri IV., furent demolis et un beau cirque
fut erige sur 1' emplacement, vis-a-vis la nouvelle facade du palais. Cette fagade etait
1' ouvrage des architectes Moreau, Desmaisons, Couture, et Antoine. Elle est ornee au
centre de quatre colonnes Doriques, audessus des quelles regne une balustrade, surmontee
par des statues colossales de la Force, 1' Abondance, la Justice et la Prudence. Une
rangee des belles arcades s'etendent au rez-de-chaussee, et un dome quadrangulaire
couronne le pavilion du milieu. A la droite de 1' escalier de la fa$ade est 1' entree a la
Conciergerie, qui occupe 1' emplacement du jardin du palais. On entre dans la cour de
devant par trois grandes grilles de fer, celle du milieu, qui est ordinairement fermee,
etait autrefois ornee d' un globe dore.

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HOSPIC1S BE LA SAI.PETRTERE .

PA1LAIS DE JUSTICE VERS L.A. RUE PE l*A EARIO.ERHE.
. •• rdnas Ciua,psicU.Ute*in2}tr If 1829.

MONUMENT OF ABELARD AND HELOISE, PERE LA

CHAISE.

THE monument of these ill-fated lovers seems at last to have found a permanent
asylum in Pere la Chaise. Its history is almost as curious as their own.

Abelard died and was buried in the priory of St. Marcel, near Chalons-sur-Soane,
at the latter end of April, 1 142 : at the earnest request of Heloise his remains were
transferred to her abbey of the Paraclete in November of the same year ; and in May,
1163, she herself was buried, conformably to her will, in the same tomb. In 1497 we
read of the separation of their bones into distinct tombs at the entrance of the choir of
the great church of the abbey. In 1630 they were removed by the abbess Marie de la
Rochefoucauld to the chapel of the Trinity.

Here they rested until the Revolution, when the inhabitants of Nogent-sur-Seine
transferred them from the Paraclete to a vault of their church : whence again they were
removed, in 1800, to the garden of the Musee des Monumens Fran§ais. At this time
the principal bones of both were found in good preservation. M. Lenoir, the keeper of
the museum, now constructed the present Gothic sepulchral chapel (in which these re-
mains are enclosed) out of the ruins of the abbey of the Paraclete ; uniting with them an
ancient tomb from the priory of St. Marcel, in which the body of Abelard is said to have
been at first placed. On the dissolution of the Musee the entire monument was trans-
ferred to Pere la Chaise.

It appears at a short distance on the right of the 'principal entrance, and is a
parallelogram of 14 feet by 11, having 24 feet of height. A steeple of twelve feet rises
from the roof, and four smaller spires terminate the angles. Fourteen columns, six feet
high, support ten highly-decorated arcades : the pediments are ornamented with bas-
reliefs, roses and medallions.

In the interior Abelard appears in a recumbent posture, with the hands joined : a
statue of Heloise being placed at his side. Around the sarcophagus are representations
of different fathers of the church ; and at the foot is the following inscription : —

Hie
SUB EODEM MARMORE JACENT

HUJUS MONASTEK1I
CONDITOR PETRUS AB.ELAHDUS,

ET ABBATISSA HfiLOISSA,
OLIM STUDI1S, INGKNIO, AMORE, INFAUST1S NUPTI1S,

ET PCENITENTIA,

NUNC JETERNA, QUOD SPERAMUS, FELICITATE,
CONJUNCTI.

PETRUS AB.ELARDUS OBIIT XX. PRIMA APRILIS M.C.XLII.

HELOISSA, XVII. MAII M.C.LXIII.

CURIS CAROLS DE ROUCY PARACLETI ABATISSJE.

M.DCC.LXXIX.

On the side of the tomb is another inscription which mentions the alleged heresies
of Abelard and his repentance of them.

POMPE A FEU DU GROS CAILLOU.

THIS is one of the celebrated hydraulic erections of the Messrs. Perrier, designed to
supply with water the houses and fountains of Paris on the left bank of the Seine. It
is situated on the Quai des Invalides, and consists of an elegant pavilion, connected with
a tower seventy feet high, to contain the reservoirs. A third building, originally designed
to receive a steam-engine, was added, but has never been used. The first stone of this
edifice was laid by the Prevot des Marchands, July 24, 1786. In case of fire the Com-
pany is bound to supply water gratuitously, and have built for that purpose other reservoirs
in different parts of the metropolis.

99

MONUMENT D' ABELARD ET D' HELOISE : PERE LA

CHAISE.

LE monument de ces amans infortunes parait avoir trouve enfin un asile durable,
dans le cimmetiere du Pere la Chaise. L' histoire de ce tombeau est presque aussi in-
teressante que celle des deux individus dont il contient les cendres. Abelard mourut, et
fut inhume au prieure de St. Marcel, pres Chalons sur Saone, vers la fin d' Avril, 1142.
On transfera ses cendres a la priere d' Heloise, a son Abbaye du Paraclete au mois de
Novembre de la meme annee ; et en 1163 elle fut inhumee dans le meme tombeau
comme elle 1' avait ordonne dans son testament. Nous lisons qu'en 1497 leurs ossemens
furent places dans deux tombeaux differens, a 1' entree du chceur de la grande eglise de
1' abbaye. En 1630 ils furent transposes par 1' Abbesse Marie de la Rochefoucauld a
la chapelle de la Trinite. Ils y resterent jusqu' a la Revolution, quand les habitans de
Nogent sur Seine les transfererent du Paraclete a une voute de leur eglise, d' oil ils
furent transported en 1800, au jardin du Musee des monumens Fran§ais. Les princi-
paux ossemens de 1' un et de 1' autre se trouverent alors en bonne preservation. M.
Lenoir, garde du Musee, construisit alors la chapelle Gothique sepulcrale, dans la quelle
leurs cendres sont maintenant renfermees. II la composa des mines de 1' Abbaye du Para-
clete, en y ajoutant un ancien tombeau de la prieure de St. Marcel, dans le quel on dit
que le corps d' Abelard avait e"te premierenent place. Au temps de 1' abolition du musee,
le monument entier fut transfere au Pere la Chaise. On le voit un peu eloigne, sur la
droite de 1' entree principale; et c' est un parallelograme de 14 pieds sur 11, ayant
24 pieds de hauteur. Une fleche de douze pieds de hauteur s' eleve du faite, et quatre
autres petites fleches terrninent les angles. Quatorze colonnes de six pieds de hauteur
supportent 10 arcades decorees; les pedimens sont ornes de bas-reliefs de rosettes et
des medallions.

•t Dans 1' interieur on voit Abelard couche, ayant les mains jointes ; et & ses cotes est
une statue d' Heloise. Autour du sarcophage sont representes plusieurs peres de
1' eglise ; et an pied se trouve 1' inscription suivante : —

Hie
SUB EODEM MARMORE JACENT

HUJUS MONASTERII
CONDITOR PETRUS ABJELARDUS,

ET ABBATISSA HELOISSA,
OHM STUDHS, INGEN10, AMORE, INFAUST1S NUPTIIS

ET PCENITENTIA,

NUNC STERNA, QUOD SPERAMUS, FELICITATE
CONJUNCTI.

PETRUS AB^LARDUS OBIIT XX. PRIMA APRILIS M.C.XLIl.

HELOISSA, XVII. MAII M.C.LXIIL,

CURIS CAROL* DE ROUCY PARACLETI ABATISSJE.

M.DCC.LXXIX.

De 1' autre cote du tombeau se trouve une inscription qui rapporte les heresies
supposees d' Abelard et le repentir qu' il en cut dans la suite.

POMPE A FEU DU GROS CA1LLOU.

C'EST une des celebres erections hydrauliques des Messrs. Perrier, destinees a
fournir de 1' eau aux maisons et aux fontaines de Paris sur la rive gauche de la Seine.
Elle est situee sur le Quai des Invalides, et est composee d' un elegant pavilion, joint a
une tour qui a 70 pieds de hauteur et qui contient les reservoirs. Un troisieme batiment
destine originellement a recevoir une machine a vapeur, y fut ajoutc mais on ne s'en
est jamais servi. La premiere pierre de cet edifice fut posee par le Prevot des Mar-
chands le 24 Juiller, 1786. En cas d' incendie la Compagnie est obligee de fournir
1' eau gratuitement, et elle a fait batir plusieurs reservoirs a cet eff'et dans les differens
quartiers de la capitale.
100

a

te *

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